Ultimate Spider-Man #3: Face/Off

A true lamentation of the MCU-ification of modern Marvel has been the reduction of superhero secret identities, which in turn damaged the viability of the supporting cast in the larger cape books. It’s gotten to the point that Mary Jane Watson can’t thrive as a supermodel turned actress, instead having to put on an ugly costume and fight crimes with one of the laziest superhero monikers in recent years. There have been some pushes into enriching the interior lives of heroes and their supporting cast, but no book is doing it better than the recently relaunched Ultimate Spider-Man. That new volume follows its predecessor in elevating the secondary cast to leading levels of interest. 

Ultimate Spider-Man #3 – written by Jonathan Hickman with art by Marco Checchetto, colors by Matthew Wilson, and letters from VC’s Corey Petit – finds a natural progression as Peter and his daughter May bond over their shared secret. The duo works to develop a new edition of the Spider-Man costume, cycling through a variety of styles including variations on the issue #1 cover gallery outfits. Once they settle on a costume, the issue checks back in with Jonah and Ben as they find their (more than run-down) office space. They’re strapped for cash and on the hunt for leads, including the identity of the green-tinged vigilante attacking Kingpin at every turn. 

Hickman’s writing continues to finely balance the action, intrigue, and character work that has helped to define this new universe. A testament to the work of this issue is the constant desire for Ben and Jonah to pop back up on the page and continue their journalistic Odd Couple schtick. The history is palpable between these two characters, and the back and forth in this issue evokes classic Brian Michael Bendis, quickfire dialogue. Hickman’s scripting for these two makes them feel in perfect lock-step even as they try to find even footing. This sequence serves to not only give a grounded edge to the ever-elevating science fiction of the universe. 

Another perfect use of the duo is their help in seamlessly transitioning to the Green Goblin and Bullseye story. The expert marksman is being chased down by the technological vigilante, the two laying traps for the other across the city. A confrontation occurs as Spider-Man appears on the scene, giving an extra dimension to the fight before Bullseye finds an opportunity to get away. As the two burgeoning heroes come face to face, the Green Goblin hijacks the spider-suit, revealing Peter’s face. In return, Harry Osborne reveals himself, ready to make friends with the webhead. 

The decision immediately cuts through some of the pretense of a typical Spider-Man, Green Goblin tension. With identities on the table, the next issue’s dinner double date makes sense, as Peter and Harry have to hash out information both in and out of the suit. Hickman seems to be accelerating certain parts of the spider-mythos to powerful effect, giving a hurtling momentum that makes the issue hard to put down. Nothing is safe and everything appears on the table, as threads are woven in and out of the book with a deft hand. Here’s hoping all of this clearing and table setting is to make room for the Spider-Man subplot of the Ben and Johan a-plot. 

Emotion and pacing are essential elements of this story that spring from the masterful artwork of Checchetto. The book moves at a breakneck pace that feels intentional from the paneling. The action rides the excellent highs of Checchetto capturing pure kinetic energy in his lines, giving a jaw-dropping amount of detail without sacrificing the stylized nature of the superhero. The book never sings as much as it does in the scene of Peter taking May webswinging in the new costume for the first time. It’s a similar experience to seeing moments from the Sam Raimi Spider-Man movie for the first time or playing the Insomniac Spider-Man game. It’s a platonic ideal of what Spider-Man in motion should be like, both in terms of visuals and emotion. 

The artwork utilizes a blend of stylized realism that gives the book a perfect intersection of street-level and elevated technology. From the opening moments of rotating through costumes to the decaying offices of Ben and Jonah, this is a fully realized world that contains multitudes. Checchetto manages to find a striking balance of the supernatural with the grit of realism in Daredevil, Checchetto is operating at a level all his own. The battle between Goblin, Bullseye, and then Spider-Man moves on swift feet with plenty of razor-sharp cards and goblin tech. Another testament to Checchetto’s blending of visual influences is the designs of the Goblin and Bullseye specifically. 

Just like the tweaked Spider-Man costume, the designs for both characters feel very modern interpretations of the classic suits. Much like his other designs, it doesn’t seem improbable for these costumes to leap straight into another medium. That fact isn’t a critique of the art or Checchetto’s style but instead speaks to his power as a storyteller in the field of cinematic comics. His work gives a sense of soaring scale to the work, making it feel like a true inheritor to the Ultimate line. The paneling, the compositions, and the detailed work make for a propulsive installment that channels the best of comics while reaching for something intangible. 

Reinforcing the artwork is Wilson’s coloring, which works to elevate the sense of scope and heightened beats throughout the issue. The palette brings the issue out of the cool blues of the previous one and thrusts it into the bright daylight. Blue grays give way to oranges and browns, evoking a specific thought of New York. To make another comparison to Checchetto and Wilson’s last collaboration, Daredevil, this story and its look feel like a total inversion of the coloring. There is no doubt of the grounded approach the book takes to its visual storytelling, even as technology like the Goblin and Bullseye suits leans heavier into the advanced technology column.