Spider-Men #2 (of 5)

So what happens when Amazing meets Ultimate?

Take a wild guess.

Yep, when Peter Parker meets Miles Morales, they stick to the Marvel formula... and get into a fight.

Parker has been transported to the Ultimate Universe after a strange encounter with Mysterio (apparently the version from the Ultimate Universe, who has somehow crossed over into the Marvel Universe).

Most disturbing for Parker is that everyone seems to know his secret identity - but he doesn't know that his Ultimate double was killed, publicly mourned, and idolized for his sacrifice.

It's fun, of course, to see these two heroes meet - there are lots of similarities (both in powers and personalities), but lots of differences to sort out, too.

It's the usual sharp, entertaining script from Brian Bendis (with an especially funny explanation of events from Parker), and terrific art by Sara Pichelli, with original layouts and strong characters.

So far this has been building nicely - almost leisurely - as the characters are moved into place.

It's been fun - and it's still the only Spider-Man comic I buy.

Grade: A-

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Spider-Men #1 (of 5)

It seems strange to realize that I don't collect any Spider-Man comic books.

After reading Amazing Spider-Man virtually since it began, I finally stopped buying it (with a couple of exceptions) after issue #600. I didn't care for the way his marriage to Mary Jane was dissolved, and the quality of the weekly stories was poor - so I gave it up.

I was comforted that I could still enjoy the web-head in Ultimate Spider-Man - so, of course, the creative team killed off Peter Parker in that title and created a new Spider-Man. I hung around for a couple of issues, but it wasn't "my" Spider-Man, so I dropped that title, too.

So it's been a year or more since I bought a Spider-Man-based comic. Until now.

I've finally been lured back by this series, which brings together the Marvel and Ultimate Universes for the first time.

Thankfully, the series is being written by Brian Bendis, who crafts the best Spidey dialogue since Stan Lee. The focus on this issue is on "our" Peter Parker, who's going about his usual business - foiling criminals, investigating strange events - when he mysteriously finds himself in a different version of New York City.

It's all pretty light-hearted, but there's a solid mystery at the heart of it all. It remains to be seen how Peter Parker feels about being... dead.

The art is by Sara Pichelli, and it's impressive. I like her limber but realistic Spider-Man, and the cityscapes are lush.

It's a solid start to this mini-series, and I have to admit, it's nice having a Spider-based comic I can buy and enjoy. If only I could say that about the rest of the line.

Grade: A-

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Ultimate Spider-Man #1

After all the hubbub about the new Ultimate Spider-Man, the first issue finally arrives so we can actually start judging it based on more than feverish speculation.

So my reaction after reading the first issue is that it's... OK.

Sorry to be tepid, but we don't really get much to go on with this issue. In fact, it feels just like the first issue of the original Ultimate Spider-Man, with writer Brian Bendis once again working a very decompressed story.

What Stan Lee and Steve Ditko did in 15 pages, Bendis and (then) artist Mark Bagley took six issues to cover - and this new series by Bendis and artist Sara Pichelli is crashing along at the same methodical pace.

Here's what we get in this issue: a little background on the first Spidey's origin, and we meet Miles Morales, a young man who is taking part in a lottery to get into a charter school (somewhat against his wishes).

There's really very little (so far) to differentiate him from Peter Parker. He's a smart young man who talks in a snappy, clever way (like so many Bendis characters), and then a strange accident leaves him gifted with special abilities. Sound familiar?

There are differences, thankfully. Both of his parents are alive, his father is African-American and his mother is Hispanic. He seems like a thoughtful young man, but we learn almost nothing about him here.

No doubt future issues will fill in the blanks, but it looks like the readers are going to have to be patient, because the story is spooling out very slowly - at least so far.

The art is quite good, and Pichelli tells a strong story despite the almost complete lack of any action scenes - we see a lot of real-world situations, and the characters are distinct, alive and expressive. I'm looking forward to seeing more of her artwork.

Am I hooked on this series, am I dying to see the next issue? Not really, although I am interested enough to keep reading for now.

I'm confident Bendis will tell a good story, but I'm hoping to see some evidence soon that this series will move in new and different directions.

Grade: B+

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Ultimate Fallout #4 (of 6)

What a bunch of crap.

Oh, I'm not talking about the "new" Ultimate Spider-Man, who we meet for the first time in this issue.

I'm not even talking about what the story does to Reed Richards, one of my all-time favorite characters.

Or the last five pages, which flew in from left field and stayed there.

No, I'm talking about the fact that the "surprise" unveiling of the new Spider-Man didn't talk place in the pages of this issue. Instead, the panel with the character pulling back his mask was released the day before to news media, who snapped it right up and ran stories telling us more about the character than the story itself reveals.

I know, Marvel has to sell comic books, and advance publicity pumps up sales - but these spoilers completely ruin the reading experience.

I should point out that I was trying to avoid the stories. I like to be surprised by events in the books and comics and movies and TV shows that I enjoy. But for reasons that elude me, the marketing concept is, "Let's tell them something big is going to happen, and then give them the art so they can show it and people will rush into the comics shops and scoop up those issues in a speculation frenzy."

And if it ruins the story for those poor schlubs who've been following the story patiently for years, who cares?

Hopefully one day they'll realize, "We can build buzz by telling them that something shocking will happen, but we won't tell them what happens so the readers can enjoy the surprise!" (Don't hold your breath waiting.)

As for the controversy around the new Spidey and his racial background - who cares? Anyone of any race, gender or age could be Spider-Man. Should we be shocked when they shake up that angle?

Anyway, enough ranting. As for the comic itself, it's actually extremely average, although the artwork by Sara Pichelli, Salvador Larroca and Clayton Crain is quite good. We see "Spider-Man" fighting a lame villain, exhibiting some spider-powers, and that's about it.

We catch up with Reed Richards, another favorite character who's been mentally twisted out of shape. The final story sets up some "shocking" revelations that mostly adds up to a big, "Who cares?"

And that seems to be the imminent fate of the Ultimate Universe. In attempting to make it different from the regular Marvel Universe, the creative teams have smashed it all beyond recognition.

I've been following it since the beginning, and with each new story I find it more and more difficult to care. Probably because they keep killing off my favorite characters - or at least assassinating their personalities.

Grade: C-

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Ultimate Fallout #1 (of 6)

Despite the Ultimate Fallout title, this is actually the next issue of Ultimate Spider-Man.

It picks up where that series left off, with Peter Parker (apparently) dead, and his secret identity no longer a secret.

This issue checks in with the entire supporting cast as they cope with the (apparent) loss of their loved one.

I keep saying (apparent) because nowhere in this issue do we see the body - and in comics, they ain't dead until you see the body, and even that usually isn't proof.

But I have to admit, they do seem to be sticking to their guns here. Certainly the grief expressed (each character in his or her own way) is genuine and touching.

Writer Brian Bendis is again teamed with his longtime co-creator on Ultimate Spidey, artist Mark Bagley - and the focus here is entirely on the raw emotions of the characters, from anger to insight to recriminations and great sadness.

It's fine work by all involved (though it tries a bit too hard to wring a few tears out of you), and it'll be interesting to see how they wrap this up and bring us a new Spider-Man.

Assuming that's the plan, of course.

Grade: A-

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Ultimate Spider-Man #160

As a matter of policy we try not to spoil the ending of stories, but it's going to be tough to avoid with this issue of Ultimate Spider-Man.

After all, the last six (or so) issues have been labeled "The Death of Spider-Man," and Marvel went to the national media yesterday talking about how Spider-Man gets killed in this issue.

So there's that.

It's been a slow build to this final issue, as Spidey was seriously wounded and then had to confront the Sinister Six, including the Green Goblin, Sandman, Kraven, Electro, the Vulture and Doctor Octopus.

Spread over several issues, it's been the fight of Peter Parker's life - and it's the fight that (apparently) ends his life. (Nah, I don't really believe it, either.)

Still, it's a brutal, emotional roller-coaster ride that keeps you on edge right up to the end. Any reader who's been following the story will definitely find those final pages heart-rending.

It's great work by writer Brian Bendis, who is thankfully reunited on this story with artist Mark Bagley, who manages to balance the raw emotional scenes with the hoo-hah, over-the-top action sequences.

It's tricky to kill a hero - his end must be honest, it must require a heroic effort (and a sacrifice) and allow him some meaningful final words. Check, check, check and check.

Simply an outstanding end to a terrific series.

Let's bow our heads and pay honor to the Ultimate Spider-Man - practically since it started a decade ago, it's consistently been the best Spider-Man comic. Let's hope that run doesn't end here with an untimely death.

That would be too cruel.

Grade: A

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Ultimate Spider-Man #159

With one issue to go before we see the final chapter in the death of Ultimate Spider-Man, you have to give credit to the creative team for wringing every lost drop of excitement out of this story.

Writer Brian Bendis serves up another edge-of-your-seat battle royal between what's left of the Sinister Six and what's left of Spider-Man.

You will remember that Spider-Man was shot saving Captain America (who repaid his effort by leaving him to die alone). In this issue he makes his way home where his friends the Human Torch and Iceman were defeated by the Six, leaving a badly wounded Spidey facing impossible odds.

This issue gives us his final effort as he tries to survive a withering assault.

The art is by series originator Mark Bagley (with Andy Lanning on inks), and it's outstanding work, with one amazing action scene followed by an ever more intense scene, and so on, right to the end of the issue (and oh, that final page).

The story is so tense I'm even willing to overlook some of the more irritating story oversights. For one, where is Peter Parker's mask? He was wearing it when he was shot, but when he arrives at his home his mask is gone.

But the most irritating event is something that would pop up in the TV show 24 from time to time. Someone has to get across town, and instead of taking an hour or more, they cover the ground in minutes. That happens here in an intense (and improbable) scene - but the story's so exciting, it's easy to forgive.

With a cliffhanger ending, it's going to be tough to wait a month to see what happens next. But that's all part of the fun!

One hopes that next issue isn't really the end of the Ultimate Spider-Man. This has been consistently one of Marvel's best books, and this series is a "must read."

Grade: A

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Ultimate Spider-Man #158

Thankfully, I've never been shot. But I have it on good authority that it hurts. A lot.

A friend of mine named Dave served during the war in Vietnam and he always laughed about scenes in TV shows and movies where the good guy gets shot (usually a "flesh wound") and carries on with the fight. His favorite was in Raiders of the Lost Ark, where Indiana Jones gets shot in the arm but manages to scramble under a moving truck, climb back in and beat up the Nazi at the wheel.

He found those scenes funny because he got shot while he was in Vietnam - just a tiny nick when a bullet clipped his arm. He said his arm immediately went numb - he couldn't move it at all.

I always think about that story (first heard over 30 years ago) when I run into scenes like the one in this issue of Ultimate Spider-Man. At the end of the last issue Spidey pushes Captain America out of the way of a sniper shot and takes the bullet himself.

He's shot through the side, just above the hip (so presumably no organs were hit), and here he wakes up to find Cap has left him alone on the bridge, apparently to bleed to death.

In the best Jack Bauer tradition he gets to his feet and webs up his wound and gets back in the fight of his life (presumably the last fight of his life, depending on what happens in the next two issues).

It's an exciting, action-packed story with the usual fine efforts by writer Brian Bendis and artist Mark Bagley, as they keep us on the edge of our seats - but as much as I'm enjoying this story, I have to admit my pal Dave would be laughing at this issue.

Grade: A-

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Ultimate Spider-Man #157

He's still not dead yet - at least at the beginning of this issue.

But judging by the subtitle of this comic - "The Death of Spider-Man" - it doesn't look good for Ultimate Spider-Man.

And certainly the situation is dire. The issue begins with Spidey discovering that the New Ultimates and the Ultimate Avengers are in an all-out war in the city (that fight you can catch in the mini-series running parallel to this comic).

At the same time, all of Spider-Man's greatest foes have escaped from prison, including the Green Goblin, Dr. Octopus, Sandman, Kraven, Electro and Vulture.

And if you thought the Marvel Earth's version of Norman Osborn was crazy, the Ultimate version makes him look mild-mannered in comparison.

This issue includes a truly stunning event that has somehow gone without spoiling - and I won't cross that line, either - but it's a credit to writer Brian Bendis that he managed such a surprise on his readers.

I have to admit I haven't been following the other mini-series, but aside from the last couple of pages, I don't feel as though I missed much - and even that sequence is self-explanatory.

Nothing against the artists who have worked on this comic since he left - they're all talented, frankly - but this book really feels right with Mark Bagley back on the art. Over his 110-plus issues, he really put his creative stamp on it, and it gives the book a feeling of having come full circle.

He's lost nothing in his absence - his work crackles with energy, emotion and enthusiasm, and runs the gamut from tender scenes to brutal super-powered battles.

This story has been building slowly, but this issue - and the next - will tell the tale about whether or not this "Death" is all it's been built up to be. Here's hoping!

Grade: A

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Ultimate Spider-Man #156

Nothing against the fine artists who tackled Ultimate Spider-Man after his epic run on the title, but I'm thrilled to see Mark Bagley back on the art for this comic.

The series continues to move toward the "Death of Spider-Man," and this issue moves all the pieces in place for that to happen.

The last few issues of this title have been all about Peter Parker getting his life back together. He's once again dating Mary Jane (which is as it should be), his circle of friends is supportive, and he's being trained by members of the Ultimates.

This issue, he faces training from Captain America, and it's an interesting contrast between two polar opposites - but unfortunately, we don't see much of this.

Instead, shocking events occur that promise lots of pain for Spider-Man, as (for the umpteenth time) his most dangerous foes escape from the Triskelion (SHIELD headquarters).

It's all setting up next issue's deadly confrontation, but the real treat here is Bagley's work - he brings such a fresh energy to the title (which is funny, since he drew more than 100 issues on his last run). His layouts are dynamic, his characters individualistic, and his action scenes really pop.

Great to have him back. Now, the question is: how much longer will (Ultimate) Spider-Man be hanging around?

Grade: A-

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Ultimate Spider-Man #155

This issue of Ultimate Spider-Man wraps up the prelude to Spidey's "death," and as such it's a very quiet story indeed.

But it's a fun one! First of all, it's loaded with terrific art, as Chris Samnee brings his wonderfully expressive style to the book. His shots of Spider-Man swinging through the city are pure poetry.

Writer Brian Bendis also has his usual fun with dialogue, as Peter Parker and J. Jonah Jameson have an interesting meeting about secrets shared and employment opportunities.

It's - surprisingly - a happy issue for the web-slinger, and a much-needed one after recent intense moments in his life.

Presumably it's all leading up to an even more intense sequence, so it's nice to have this moment to set things right and bring the readers up to date.

There may not be a lot of action on display, but the comic makes up for it with a lot of heart and several surprises.

After seeing the travails the original Spider-Man comic went through for the last couple of years, it's great to have this haven for outstanding stories. If you haven't been following this title, you're missing out.

Grade: A-

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Ultimate Spider-Man #154

I'm generally not a fan of the big cosmic MacGuffins that drive so many comic book stories - the Cosmic Cube, the Infinity Gauntlet, the Ultimate Nullifier - they make for an overpowering, impossible-to-beat enemy - but that just means the hero has to find a way to trick the bad guy, as opposed to actually outsmarting or outmaneuvering him. (There is a difference.)

This issue of Ultimate Spider-Man includes an old weapon, the Zodiac Key, that has been MacGuffined - but writer Brian Bendis re-imagines it as not only a force capable of terrible destruction, but one that the holder can't always control. It's a great twist on a well-worn concept.

The Key has also become something of a hot potato - the Kingpin had it (before he was killed), then Mysterio had it, then the Black Cat stole it, and with this issue we throw Spider-Man (still alive!) and Iron Man into the mix.

The result is a fast-paced scramble that's a heck of a lot of fun.

The art is still being handled, tag-team fashion, by Sara Pichelli, David Lafuente and Elena Casagrande - but the credits don't specify who did what (though it appears that Sara handled the superhero stuff while David did the civilian part). Whoever did what, it's great stuff, and I especially enjoyed the double page 16-panel action sequence.

Also, great cover by Steve McNiven and Dean White!

We're still waiting for (Ultimate) Spidey to die (all the cool heroes are doing it). Hopefully he'll meet his fate at the hands of a more down-to-Earth agent, instead of some cosmic doodad.

Grade: A-

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Ultimate Spider-Man #153

This issue is the prelude to the upcoming "Death of Ultimate Spider-Man" series that we'll no doubt be hearing more about in the coming months.

(Ah, death - all the heroes are doing it!)

This issue doesn't feel like a prelude as much as a story in the middle. It follows two stories: one in which Spider-Man receives his first lesson in how to be a super-hero; and a cat-and-mouse game between the Black Cat and Mysterio.

The Spider-Man story is the more entertaining, as it involves a lot of hero worship and humorous banter with Tony Stark (we've come to expect great dialogue in a Brian Bendis story) - but the stakes are much higher in the other story, with the control of a powerful object at stake.

The art is something of a mix - four artists are listed in the credits - but the final product is very good, though the story is a quiet one - there's not a lot of action on display.

Still, it's an entertaining issue, and sets up a heck of a confrontation for the next chapter - which may or may not end with Spidey pushing up daisies (though I'm guessing they'll drag that out for a while yet).

Grade: A-

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Ultimate Spider-Man #152

I don't like it when smart characters are made to do dumb things.

In this issue, (Ultimate) Iron Man is ready to give Peter Parker his first lesson in being a super-hero - so he shows up at Aunt May's house asking for her nephew.

It's hard to believe that someone as smart as Tony Stark wouldn't know that Spider-Man had a secret identity - or that he would be endangering Peter's loved ones with his appearance.

It's played mostly for laughs - but it fell flat for me (which is unusual for writer Brian Bendis - usually his gags are on the money).

The whole issue is loaded with short scenes designed to clear up loose ends and set up the next storyline - because of that, there's almost no actual Spider-Man content in this comic.

We see lots of Peter Parker, as he and Gwen Stacy have an overdue heart-to-heart. We see the Black Cat (and her impressive cleavage) as she steals a powerful artifact from another criminal. And that's about it.

The issue features two artists - Sara Pichelli and David Lafuente. Their styles are similar enough that the switch back and forth isn't too jarring (with Sara handling the Black Cat sequence and David everything else - I think). But their styles are loaded with energy and a sense of fun.

So, not a bad issue, but not a great one - we're spoiled by so many great comics in this series that an average issue like this one feels like a let-down. But I still say this is the best Spider-Man comic on the stands.

Grade: B

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Ultimate Spider-Man #150

Happy Thanksgiving, everyone!

To celebrate the holiday (and yes, I know it's only a holiday in the U.S. - but we're thankful for those of you reading in other countries) let's take a look at the oversized Ultimate Spider-Man #150.

Of course, that number is a good trick since the last issue was what, #15? (Oh Marvel, with your '40s-era random numbering system. And no, I'm not sure how 133 issues plus 15 plus one equals 150.)

Actually, it's impressive that this series has already reached that number, since it has only been around for 10 years. That would add up to 120 issues for most series (if they were lucky) - but it's a tribute to the speed of writer Brian Bendis and penciller Mark Bagley that they're so far ahead of the game.

To celebrate the milestone, this 104-page issue features two completely different adventures. The first story features Iron Man, Captain America and Thor as they flash back to their previous meetings with Spider-Man.

The stories are a great mix of humor, adventure and action as The Ultimates consider how to solve a problem like Spidey.

The second story is a reprint of a past Super Special and it reads like a mash-up of the original Ultimate Marvel Team-Up comic, as Spider-Man suffers a crisis of confidence and seeks advice from as assortment of heroes.

Frankly, the writing is a bit mushy on this issue - it's not up to Bendis' usual work. There are some surprises and quite a few laughs, but the whole thing is just too disjointed - and that's because of the army of artists required to bring this beast together.

There are no less than 11 artists on the first story and 27 (that's right, 27) on the second story. That makes for a fun version of "spot the artist," and there's some great work on display by artists like Alex Maleev, Frank Cho, John Romita, Sr., Michael Avon Oeming, Mark Bagley, Bill Sienkiewicz, P. Craig Russell and Dave Gibbons.

But the shifts in art give the whole thing a "crazy quilt" feel, and the story tends to get lost in the process.

Still, the book is a lot of fun, and the opening story sets up an interesting new direction for the series.

I'm really grateful this comic is still around, since I gave up on the original Spider-Man comic a while back.

As I've said before, this is the best Spider-Man comic around - and has been for 10 years now.

(What's that? They're planning to kill (Ultimate) Spider-Man next year? Son of a...)

Grade: B+

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Ultimate Spider-Man #13

I've been a big fan of the Ultimate Spider-Man series since the beginning because it's been a good balance of strong writing, great art, terrific action and lots of humor.

This issue, not so much.

That's because the ongoing storyline is moving into some dark places that just doesn't fit this title. Leading up to this issue, the Chameleon has taken Peter Parker's place and has uncovered Spidey's big secret. (I should mention that the Chameleon is very different in the Ultimate Universe - here he's apparently a con man who's always looking for a way to steal money and he acts completely without conscience).

In this issue, the bad guy uses Spider-Man's costume and webspinners to start doing some very bad things - and of course Peter is getting the blame.

It's a dark, grim storyline that seems to work against the strengths of the artist, David Lafuente, who's much better at lighthearted stories. The art is good here, it's just not a good match.

The issue is disappointing because it leans on one of my biggest problems with Ultimate Spidey - namely, that everyone knows his secret identity! Mary Jane knows, Aunt May knows, the Human Torch, Iceman, Gwen Stacy, Nick Fury, most of SHIELD, Norman Osborn, Peter's classmates all know - it would be shorter to list the ones who don't know his secret ID.

It just makes it too easy for the fight to always walk in his front door, and it takes him further away from being a regular kid in the "real world" side of his life.

It's rare when an issue of this comic doesn't rate a grade in the "A" range - but everyone slips up now and then, and for writer Brian Bendis, this is such a time.

Grade: C+

Ultimate Spider-Man #9

Here's an issue that's an interesting mash-up of several different stories, mostly lighthearted, and then taking a sudden turn into serious territory at the end.

Much of the issue focuses on the Ultimate Spider-Man clone, Spider-Woman, and the aftereffects of her team-up with the Human Torch.

The issue also has some fun with artist David Lafuente's round-headed version of Spidey, and comes up with an interesting (if rather silly) explanation for it. I'm still enjoying his art, although there are a few panels here and there where it gets just a little too cartoonish. But there's a great splash page of Spider-Man in action around the city.

But this issue is mostly setup for the next story, so it's just a slightly above-average outing this time. Of course, this comic usually operates at a higher level, so even an average issue is better than most other comics on the stands.

Grade: B+

Ultimate Spider-Man #8

OK, I've often talked about how this comic is one of my favorites, a throwback to the fun comics of yesteryear, and a real tribute to the good side of being a teenager.

This issue is more of the same, which is a good trick, since most of the comic is given over to the struggles of the Ultimate Universe's newest hero (a familiar name to longtime fans) to adjust to the fact that he now has superpowers.

Luckily for him, he's getting advice from three young heroes - Spider-Man, the Human Torch and Iceman.

What holds it all together is a great sense of fun and discovery, with a good knock-down, drag-out fight tossed in for good measure.

Of course, there's also lots of the usual funny Brian Bendis dialogue. The Spider-Friends are shaping up to be an entertaining group (and don't worry, they don't actually go by that name).

The art is provided by Takeshi Miyazawa, and it's very good - it gives a fresh, fun look to the comic.

At the risk of repeating myself, this is a terrific comic - my favorite Spider-Man book for years now. If you're not reading it, you're missing a good one.

Grade: A-

Ultimate Spider-Man #7

You have to give Brian Bendis credit for shaking up the status quo on this comic.

After an outstanding run on the first version of Ultimate Spider-Man, one might expect that he'd continue telling stories in the same vein. Instead, he's taken the comic starring one of the biggest loners in comics and turned it into a team book.

And it fits perfectly, because that's so much a part of being a kid - running around with friends, sharing day-to-day events, having fun - and that's what this comic is all about.

It the wake of the Ultimatum (ptooey) story that devastated New York City and split up the Fantastic Four and the X-Men, homeless heroes have been gravitating to May Parker's house, which (out of the kindness of her heart) she's made into something like a group home for wayward superheroes.

To be exact, she has Spider-Man, the Human Torch and Iceman all under the same roof, with Kitty Pryde a frequent visitor. And yet another character may be added to the list after the ongoing storyline, which presents a familiar teen named Rick Jones who has developed an unusual condition.

It's a story with some major ramifications, but it's also a fun romp that includes a quick visit to Ann Arbor (of all places).

Regular series artist David Lafuente gets a break this time around, providing only the cover, with the interior art by Takeshi Miyazawa, who does an excellent job evoking the same high-spirited energy that Lafuente brings to the comic.

Every month, this comic jumps to the top of my reading stack. It's funny, adventurous, surprising and always entertaining. In other words, it's the same kind of comic I enjoyed in the 1960s when it was called The Amazing Spider-Man.

Grade: A-

Ultimate Spider-Man #6

Keep in mind that I'm a huge fan of this comic - but for once, this one suffers in comparison to the original.

By an amazing coincidence, I reviewed The Amazing Spider-Man #25 just four days ago, and it's the basis for this issue of Ultimate Spider-Man. At least that's where the "bad guy" first appeared.

Of course, writer Brian Bendis takes the story in a completely different direction, just as he is doing with the whole comic. Instead of being about a solitary hero, this comic has become a team comic.

In the wake of the devastation of Ultimatum (ptooey), Aunt May finds herself running a boarding house for wayward super-heroes, including the Human Torch and Iceman. It's a very different take on the adventures of Spidey, and so far it's a lot of fun.

But where the original Spider-Slayer story was loaded with fun and adventure, as Spider-Man faced an unbeatable foe, this issue treats the Slayer as a throwaway opponent - no real laughs, no twist ending, just some violence and destruction.

There are lots of good things about the comic - the interactions between the new crowd of heroes suddenly living in Aunt May's house is a lot of fun, we see the answer to a mystery that's been around since the first issue, and the art by David Lafuente is excellent as always.

It stays at the top of my list - but this issue suffers in comparison to the original Stan Lee / Steve Ditko comic.

But don't feel bad - 99 percent of the comics in existence also fail to live up to that classic.

Grade: B-