Ultimate Spider-Man #5: Who Calls to Adventure

One of the core components of the hero’s journey is the call to adventure. Joseph Campbell describes the stage as “The adventure may begin as a mere blunder… or still, again, one may be only casually strolling when some passing phenomenon catches the wandering eye and lures one away from the frequented paths of man” in his famed book, A Hero with a Thousand Faces. What’s been interesting about the current reimagining of the Ultimate Universe is the skewing of the typical call to adventures, which are delayed and jump-started due to the manipulated history of reality. That choice results in a fascinating exploration of what it means to accept the call to adventure and whether a hero needs permission to accept it. 

Ultimate Spider-Man #5 – written by Jonathan Hickman with art by David Messina, colors by Matthew Wilson, and lettering from VC’s Cory Petit and Joe Sabino – continues to fill in the backstory for Harry Osborn, mirroring the flashback structure of the series’s opening issue. The Osborn headquarters and Norman are decimated during the Stark Laser attack from the end of the Ultimate Universe one-shot. That becomes the catalyst that sparks Harry’s maturing in the same way the spider forces Peter to return to life. The Osborn scion quickly assumes control of the company and is given Stark/Stane Industries by Wilson Fisk, who also comes into the title of Kingpin due to the Stark tragedy. 

The choice is easy for Kingpin as it gives him indirect control over the companies as he prepares for his ascension into New York’s biggest seat of power. Harry, along with his wife Gwen, and a young, loyal Doctor Otto Octavius, raid Stark’s armory for assets and data. Otto retrofits the Stark tech into the Green Goblin suit, allowing Harry to investigate the suspicious circumstances surrounding his father’s death. The book then quickly syncs up with the events of the last two issues, showcasing Harry’s perspective when Spider-Man debuts and battles the Shocker.

Hickman’s interweaving of Harry’s story as a parallel track to Peter’s is an interesting choice that showcases just how wrong (but still familiar) this world is. Instead of Harry being a petty, jealous addict, he’s presented as a well-adjusted yet free-going inheritor at the start of the story. Peter doesn’t experience a tragedy that leads him to heroics in this timeline but Harry does, his father’s death functioning as an Uncle Ben moment. These beats are excellent remixes of lore that make a compelling argument for the notion that everyone is the hero of their own story. By splitting focus, Hickman is also reinforcing the idea of a universe twisted by the Maker’s purposeful stagnation. Just like Peter, a massive inciting incident is needed to propel the man into consciousness in life. 

The strongest moment of the issue is the introduction of Otto as Harry and Gwen explore their new acquisitions from Stark. The dedicated nature is evident in Octavius from panel one in an excellent scene involving an NDA. The man’s mad scientist tendencies also come into focus in the interaction with Harry, teeing up a possible heel turn later in the run. The choice to introduce him in this way feels like an organic addition to the run, which naturally deepens the thematic weight of stolen destiny versus taking control of the future. 

Messina’s artwork continues to be a good fit for the story without straying too far from the distinct look established by Marco Checchetto. While the artwork is a bit stiffer and less bombastic, it maintains a strong sense of character-driven visuals that underscore the existential approach to the origin story. The book operates in repeated use of close-up and medium shot panels, focusing in on characters’ faces, letting the expressions convey the more complex emotional beats. It’s a tighter style than the more cinematic panels that find their way into Checchetto’s pages, helping to separate the visual storytelling. The decision to put them in contrast is both a smart narrative and one that also feels practical, offering the best intersection of art and commerce. 

When the book moves into the action sequences, with Harry in the Goblin suit, the artwork’s stiffness becomes more apparent. The action reads as more grounded and less over-the-top than in previous issues, resulting in well-crafted sequences that get the job done with little flair. In a series with Checchetto as the primary artist, it’s difficult to avoid comparisons, and the action is the only place that Messina never quite reaches. The artwork fits a civvie story like the previous issue focused on a dinner date and babysitting, and it isn’t as off-putting since the action was previously seen from Peter’s perspective. It’s just while reading, those flashes of action felt slightly emptier, missing the spark that makes the dynamic, fluid sense of motion feel right in place for a Spider-Man comic. 

Much of the cohesion and differentiation evident on the page comes from Wilson’s coloring, which is less grounded and more exaggerated in places. Wilson subtly shifts his palette and tones to fit the more intense character study of Harry. This creates a visual rhythm that slows down the internal pace while offering continuous flashbacks, signaling the passage of time to the reader. The warmth of the last issue bleeds a little bit into this issue thanks to Wilson’s evocation of golds and softer tones, contrasting with the gritter hues seen in the Checchetto illustrated issues. Wilson continues to make himself known as one of the best working colorists in that ability to quietly and seamlessly transition between the two styles while leaving a massive impact on the look of the issue.