The opening credits of Spider-Man 2 show comic-strip like scenes from the story, leading us gradually into the idea that this movie is a comic strip brought to life. This small device helps set the stage and the viewer can easily bypass any questions of how real' the subsequent action appears  it has only to live up to the comic strip rather than live up to reality'. To the makers' credit, the special effects however are incredibly life-like  we can concentrate on the story and action without being distracted by them. As an extension of the comic strip, Spider-Man 2 works extremely well. What is the appeal and purpose (if any) of comic strips? Surely it is to define, without the restraints of the real world, the action hero  the person whose moral standards and efforts to do good, to resist evil, to respect the individual and uphold justice inspire us to similar qualities within ourselves (a function of all heroes and super-heroes  real or imaginary, religious and non-religious). Spider-Man 2's self-examination of the role of the hero, his internal dialogue shared with the audience, make this function more apparent than it is in many similar movies: the character becomes conscious of his purpose and, by articulating it, provides a comment on his own character that draws our attention to his symbolic function rather than simply engaging us by example. For entertainment value Spider-Man 2 also outstrips its predecessor, and the love story between Peter Parker / Spider-Man and Mary Jane has a classic quality to it. This is also one of the movie's greatest weaknesses perhaps  the female figure, as in many hero stories, is subjugated to one of a weak woman rescued by the male (in this case it is also the male's adventures that bring her into danger). We have yet to see fairy tales, religious mythologies, or comic strips where the heroine asserts her identity and capabilities on an equal footing with the hero (and without becoming masculinised). But Spider-Man 2 is a triumph of adaptation  a new generation of comic book writers is perhaps needed before the power of feminine principles is glorified alongside the masculine.