Humberto Ramos, again, does the art for this issue, and I find he's doing a very capable job. While it's certainly stylistic, it definitely has a sense of energy, even during scenes involving dialog, and his facial expressions, while exaggerated, are definitely expressive. There are, at times, however, in which the action doesn't translate well, as it appears, based on reactions from the preview and other reviews, I definitely wasn't the only one who thought the Black Cat took out a biker with her butt instead of her feet.
In terms of Dan Slott's script, I find that while it certainly has a clear sense of vision and is well-constructed, it still is, once again, a mixed blessing. In terms of what good, (and regardless of whether or not Black Cat used her "buns of steel" or not), I liked the scene in with Spidey and the Black Cat take out the biker gang who have adopted the "Green Goblin" culture. This is primarily because, not only is it a nice quick action set-piece with plenty of banter between Spidey and Felicia (and Norah Winters, as well), but it continues the idea introduced last issue of how she is continuing to partner up with Spidey in order so that he'll recommend her for the Avengers. It not only shows an apparent downside of Spidey being an Avenger, but also that this is one of the consequences of Spidey's prior "friends with benefits" relationship with her during "Brand New Day," underscoring her role as temptress for him, which is what the Black Cat excels at being.
We also get treated to a brief scene with Peter and Carlie about to spend an evening together watching a movie in Peter's hotel room, and we see their new romance already has developed some potentially big problems. In an ironic role-reversal we learn that Carlie, because of her job as a forensic scientist, is one who usually has to skip out on dates with Peter (a carry over from Zeb Wells "Shed" story), as is the case here where she gets called to investigate the same scene where Spidey and Black Cat stopped the bikers. Carlies job also means she has uncanny powers of observation--like seeing that Peter had been making a batch of spare web-fluid before she arrived, or almost spotting part of his discarded Spidey costume. Thus, with his secret identity almost blown, it dawns on Peter that asking Carlie to be his girlfriend may have been a potentially bad idea--at least as far as him being Spider-Man is concerned (then again, doesnt he still have the psychic blindspot which should prevent Carlie from figuring this out anyway?). While I still think Carlie is a rather dull and overrated character, at least Slott is making the effort to try and make Peter's usual dating dilemmas a bit more unique.
I also thought the scene with Aunt May rousing Peter and occupying him to his first day at Horizon Labs like it was his first day of school was actually kind of endearing and cute, especially at the end when May looks up and says "[Peter] did it, Ben." You really do get the sense that May is truly proud that her nephew has finally become the scientist she always knew he'd be one day. Of course, Slott could have done without the unnecessary joke in which May thinks Peter is secretly hiding pornography from her, but at least it doesnt completely ruin things.
Speaking of Peter's job, we also get introduced to two more co-workers--a blond, glasses-wearing environmentalist named Bella Fishback, and an African-American child prodigy whose parents are Fantastic Four fans named Uatu Jackson--and there's mention of "Number 6," a secretive member of the "Lucky 7" think-tank, who's identity I'm sure will play as a key subplot in future issues. And just like last issue, these new additions to the supporting cast haven't really grabbed me at all, although I do think out of the ones introduced so far, Uatu seems like the more interesting of the bunch.
Likewise, Peter also gets his very own private lab in this issue, one which even his new boss, Max Modell, is not allowed access to, which makes it an ideal place for him to stash his Spidey stuff from prying eyes and work on various Spidey related experiments. If this sounds way too convenient, it is, and I can't help but think that by giving Peter this new job, Slott may be risking undermining the idea that one of Peter's biggest strengths lies in that he can achieve great things in the face of adversity, financial or otherwise. To be fair, though, Slott does have Peter, having faced with a creative block on his first day, realize that many of his great scientific achievements were the result of his being Spider-Man, something which, of course, will have later repercussions over the course of Slott's run.
There are also not as many subplots being floated as last time, but there are still two brief, page long scenes that set-up future stories. One has Steve Rodgers, along with John Jameson, suggest to Mayor Jameson that Spidey be given a key to the city, much to Jonah's objections; the other is that Mac Gargan is dying without the symbiote or the Scorpion suit, which continues the set-up Gargan's return in becoming the Scorpion yet again. They may not actually add to the main story, but it does give readers the feeling that there are events transpiring beyond Peter's present circumstances which will effect him eventually.
But of course, all this is not what people really want to talk about or have been talking about. Rather, it's the opening prologue in which Phil Urich takes Roderick Kingsleys place new Hobgoblin--by disabling him with his Lunatic Laugh and then decapitating him with a flaming sword.
Now, I don't mind the idea of Phil becoming the new Hobogblin; the Mondo Magazine review of this issue made an excellent observation that Phil has essentially become a dark reflection of Peter Parker, especially since both of them last issue are starting off in similar circumstances (they even have the same middle name and an "Uncle Ben"). Some may gripe about how crazy and evil Phil suddenly has become (which apparently you had to read the Green Goblin series from the 90s or the Loners mini series), or that his "Lunatic Laugh" no longer requires him to wear a Goblin mask in order to be used, or that he's motivated to become a Goblin once again because of his a crush on Norah and is attempting to impress her. But these are trifles compared to how Phil becomes the Hobgoblin in this issue, something which I dont feel hes legitimately earned.
I cannot help but think that the Spider-Man fans who have been waiting for more than a decade for the original Hobgoblin--Roderick Kingsley--to return, only to then have him be quickly (and gruesomely) dispatched by the former heroic version of the Green Goblin to feel anything but cheated. There is a chance, though, it was actually Roderick's twin brother, Daniel, who was really killed in this issue, but as it stands, this feels like a cheap bait-and-switch that was done just to create shock value, pure and simple. I'm sure some may like it for that very reason, saying it unexpected and daring, and if so, I simply ask the following: did Roderick Kingsley really have to be killed in order for Phil to become the new Hobgoblin? If the answer is no, then what does that tell you?
Also, some of the jokes, especially the sex-related ones, I didn't particularly care for, primarily because they seemed too obvious. The most crass was where Norah jokingly tells Ben Urich that she's dating Randy Robertson--who is African American, mind you--because, in part, he has a large penis. Granted, she doesn't actually say the word, but it's written in a manner that discerning readers will definitely know what she's talking about. And while I'm sure this is meant to show how that part of Norah's humor comes from her being wonderfully "politically incorrect," the idea of a white woman making a stereotypical remark about a black man's "package" could still rub people the wrong way, especially since this is not the first time Norah has said borderline racist comments, either. I'm sure there will be some who will say "just lighten up," but I do question using this type of humor in a book that is supposedly geared to, at minimum, 9 year-old kids. Considering some of the other content in past issues, the least Marvel can do is change the rating of the comic.
All in all, I do think that these first two issues of "Big Timie" do show promise and are clearly more focused than the past three years we had under the previous format. Yet, as mentioned, there are still things which I do find problematic and questionable within some of the more interesting ideas Slott is brining to the series. Thus far, I'd put this in the "okay, but could be much better" category.