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Post by crazyoldhermit on Mar 16, 2015 0:47:44 GMT -5
The Amazing Spider-Man #52 (September 1967)  "To Die A Hero!" Script: Stan (The Man) Lee Pencils: John (Ring-A-Ding) Romita Inks: Mickey Demeo Letters: Sam Rosen Cover: John Romita Summary: Kingpin and his men haul Spidey (still unconscious) and Jameson into a basement chamber. They shackle the two men to the floor (or rather, a piece of metal thats bolted to the floor), seal the room and start pumping water into the room. Spidey comes to, breaks out of the shackles and starts letting web fly. Ned and Betty arrive at the Bugle and find Jameson's office broken into. Robbie has already called the cops and tells Ned to go investigate. Betty begs Ned not to go but he runs off to do his job, leaving Betty to fret over all of her men having dangerous jobs. Spidey has managed to whip up a thick webbing bubble that has enough air to let him and Jameson survive underwater. After a satisfactory amount of time Kingpin orders the room emptied and the bodies retrieved. Kingpin's mooks find Spidey waiting for them and he escapes with Jameson. But Jameson is so terrified by the ordeal that he won't flee the area. While Spidey battles more thugs he has to resort to threatening Jameson into leaving. Jameson runs scared, turns a corner and is knocked out by a low pipeline. In his office Foswell complains about Kingpin murdering Spidey and Jameson. He's interested in making money, not murdering people. Figuring Foswell to be either a wimp or a spy, Kingpin prepares to kill him barehanded but before he can do so Spidey busts in on them. At the Silver Spoon Flash has unexpectedly returned on furlough. Gwen, Harry and MJ are thrilled to see him and he brags about being a war hero but he wonders where Peter is, as nobody has seen him yet. While Spidey battles Kingpin Foswell grabs a gun and slips away. Realizing he can't beat Spidey man-to-man Kingpin escapes into a secret elevator. Spidey tries to follow him but it's rigged with explosives. Realizing that the elevator likely goes to the basement Spidey takes the long way through the corridors to meet him. In the basement Jameson comes to under a dripping pipe. Feeling the moisture on his head he assumes he's bleeding and is going to die. He runs screaming through the hallway, attracting the attention of some thugs and Foswell. The thugs chase Jameson down a hall but Foswell pulls him around a corner, telling him that he owes Jameson for being the only person to give him a second chance. The thugs open fire and Foswell takes the shots meant for Jameson. Spidey follows the gunshots and beats up the thugs as Foswell dies believing himself a failure. Spidey is stunned by his sacrifice and Jameson vows to immortalize him as a hero. From a wall Spidey watches Foswell's body being wheeled out of the building and sees Jameson report Spidey's villainy to Ned. Spidey is pretty choked about this and wonders if there's a moral about being poor while Jameson is so rich. But he's too wiped to figure it out and just wants to go to bed. Observations: Poor Foswell. His death wraps up another long running story. Introduced in 43 issues ago he’s been a recurring supporting character but he hasn’t been the focus of a real story since the Crime-Master arc. After the small tease of him learning Spidey’s identity he doesn’t really have anywhere to go. This arc cleans up the cast a little bit, replacing an obsolete character with the more progressive Robbie Robertson while giving said character a very nice send-off. The interesting thing is his redemption doesn’t feel forced or hacky. Yes, he was lured back to crime but his sacrifice to save Jameson isn’t marred by him putting Jameson in danger. He didn’t actually contribute to the Kingpin’s scheme so he was able to truly redeem himself rather than just try and clean up after his own mess. The rest of the issue cleans things up. It’s really nice to see Flash again, even though he’s only been gone for four issues. I can’t tell if he’s actually seen combat yet or if he’s just exaggerating. Whether or not Flash has actually been to Vietnam would significantly change the nature of the scene. If he hasn’t been then he’s still very foolhardy in assuming the war will just be one big football game. If he has been then either Stan and John didn’t know just how bad things were in Vietnam or he is putting on a front. The Tet Offensive, the turning point in public opinion of the war, was still six months away when this issue was released but the American people were already souring on the war with support for it rapidly diminishing. Beyond all that the rest of the issue is some pretty fun Spidey stuff. Kingpin turns out to be more of a supervillain than a true crime lord, utilizing a ridiculous death trap that serves no purpose other than to make for an exciting escape scene. The action is great and the banter between Peter and Jonah is hilarious. Overall it’s a good finale and farewell to a long lived character. 5/5
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Post by Ozymandias on Mar 16, 2015 3:00:41 GMT -5
I completely agree on the development angle. Even though early Gwen is quite different from the classic one, there are forces at work within the story, that could explain such a change in behavior, personality evolution even. It may sound corny, but I think the main factor in the character shifting to a softer version, is simply love. In the long term, this wouldn't have worked as an explanation, because it's known that the chemical changes in the brain don't last, but from this point in the story, to ASM #121, not much Marvel Time elapsed. Interesting idea. My very broad estimate of the series timeline puts ASM #121 around winter of their Junior year, about a year and a half into their relationship. That sounds about right, a total time span of slightly over two years, from the character's introduction, to its demise.
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Post by Ozymandias on Mar 16, 2015 3:23:21 GMT -5
Kingpin turns out to be more of a supervillain than a true crime lord, utilizing a ridiculous death trap that serves no purpose other than to make for an exciting escape scene. Yes, that "brilliant" death trap is well deserving of having a super-villain, behind it.
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Post by crazyoldhermit on Mar 16, 2015 9:37:39 GMT -5
Summary: Poor Foswell. Kingpin turns out to be more of a supervillain than a true crime lord, utilizing a ridiculous death trap that serves no purpose other than to make for an exciting escape scene. Don't you mean "Observations: Poor Foswell."? Yes, that "brilliant" death trap is well deserving of having a super-villain, behind it. I stayed up past my bedtime writing that, cut me some slack. 
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Post by crazyoldhermit on Mar 17, 2015 10:03:13 GMT -5
The Amazing Spider-Man Annual #4 (1967)  "The Web And The Flame!" Script: Stan (The Man) Lee Pencils: Loveable Larry LieberInks: Mickey (Ever-Delightful) Demeo Letters: Adorable Jerry Feldmann Summary: Spidey sees the Human Torch going on a rampage in Midtown. They fight until Spidey busts a fire hydrant and soaks him. A bald man comes out yelling at Spidey. Torch was filming a movie and Spidey just ruined everything. He leaves humiliated, expecting scathing press from the Daily Bugle. Indeed, Jameson has acquired shots of the debacle and prints them. A mysterious man in a coat sees the headlines and has an idea. Later, Peter hears a report on the radio that Paragon Productions wants Spider-Man and the Human Torch to go to Hollywood to make a movie due to the heightened interest in the duo. The Torch has already agreed to go and Peter decides to take advantage of the opportunity to make some movie bucks, even though the flight to LA costs him his entire life's savings. After his flight he goes to the studio and makes an appointment with the studio for the next morning. The villain and his co-conspirator, both concealed in shadow, boast about his inevitable destruction. On the way to the set Spidey bumps into the Torch. They agree to a truce and Spidey hitches a ride via asbestos webbing. On set Spidey is given the rundown of the plot: Aliens are invading Central Park. Yep. Even Spidey can see it's cheesy but hey, it pays. On the first take the Torch flies by, as planned, but he sets off the spider sense. On the next take the spider sense is justified as Johnny goes on a rampage through the soundstage. They briefly fight before Torch escapes. Spidey rips the wall off of Johnny's trailer and interrupts his script reading. At the studio's executive offices the phony Torch reveals himself to be the Wizard, who is now in cahoots with Mysterio. Flashbacks reveal that Wizard had enough money set aside to set up a film studio and figured Mysterio would be the best partner. After a brief scuffle over leadership rights the two came to an agreement to destroy both of their enemies. Phase Two of the villains' plan is now beginning: Spidey attacks Johnny in his trailer and Johnny fights back. The fight leads them back into the soundstage but neither man is truly putting their all into it. Frustrated by their lack of conviction, Wizard activates a death ray against Mysterio's protests (watching the two from afar he seems to have second thoughts against tangling with such dangerous enemies). The death ray misses both heroes and they realize it's a setup. The villains activate a few more traps but by now Spidey's spider sense is zeroing in on Mysterio's office. But Mysterio has used his holograms to set up decoys while he and Wizard escape to a jungle set. Piloting a giant mechanical gorilla, Wizard knocks the Torch out and crushes him in his hand. Spidey deactivates the gorilla's operational computer and releases Johnny from the ape's grasp. They head into a cave that leads to the villains' hideout but it's booby trapped. A plexiglass gate separates them from the villains while another gate behind them traps them in the tunnel. Magnetically guided boulders fire at them from all angles but Spidey has a plan. He has Torch focus his flame enough to melt small holes in the plexiglass and, mixing some magnetically charged fluid pilfered from the gorilla with his webbing, fires two web lines through the hole onto the magnetic switches. This reverses the magnetic field and the rocks now fly away from the heroes and through the gates. Torch and Spidey easily finish off the villains and the press makes heroes out of both of them. As Spidey is about to leave Torch calls him back: The two crooks are wanted and theres a substantial reward for their capture, which Johnny wants to split with Spidey. With his airfare paid for Peter is able to sleep soundly all the way home. Special features include a double page spread showing off the main cast at the Coffee Bean, an explanation of Spidey's powers, costume and equipment, a spread of some villains (Lizard, Kraven, Goblin, Ock, Sandman, Vulture, Electro and Rhino) and a spread of Peter and Harry's apartment. Observations: The good news is after two annuals that are essentially overpriced issues of the main series Stan has decided to give us a double-length feature with a decent amount of extras. Unfortunately, rather than take the opportunity to tell a significant story like the birth of the Sinister Six, Spidey’s first team-up with Dr Strange or Spidey joining the Avengers Stan instead goes for an extremely generic plot that doesn’t make any sense at all. The biggest problem is we’ve seen the “Spidey films a phony movie” plot before, back in ASM #14. The plot didn’t work there and it works even less here. In #14 the Goblin at least contacted a legitimate film exec to handle the deception. Here the Wizard just happens to have the huge amounts of cash required to rent studio space, hire an entire crew and get a fake production going. Why bother with crime if you can make movies? The endgame of his scheme doesn’t work either. The plan was to trick Human Torch and Spidey into killing each other? What was to happen to the survivor? Mysterio doesn’t seem to offer anything either, since the Human Torch costume seems to be the Wizard’s creation. Loading the studio with death traps is also odd and both the giant mechanical gorilla and the magnetized cave are just bizarre, especially with Spidey being able to make magnetic webbing on the spot. The only upside to the main story is the presence of the Human Torch. He and Spidey have a great love-hate friendship and he’s been gone for two and a half years so it’s nice to have him back. The bonus features are pretty nice. Most of them are a recap from the bonuses in ASMA #1 but the shots of the Coffee Bean and Peter’s apartment are neat. The identity of the artist is kept secret until the very end, where it’s revealed to be Larry Lieber. The best word to describe his work is “generic.” It doesn’t have the flair Ditko or Romita had and it’s pretty uninspired. Overall the return of the Torch and a couple of the spreads in the back boost it up slightly but it’s a completely run-of-the-mill piece of work. 2/5Other notes: - Fourth appearance of Mysterio - Considering how toxic asbestos is it’s pretty funny that Spidey would spray the stuff from his web shooters with no concern - First appearance of the Coffee Bean (seen only in the special features, not in the story itself). It replaces the Silver Spoon as the main hangout of Peter and the gang. - The ranking of Spidey's strength among those in the Marvel universe is updated. The Thing, Hulk and Thor still rank higher than him along with new additions Hercules and Namor.
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Post by Ozymandias on Mar 17, 2015 10:53:44 GMT -5
The biggest problem is we’ve seen the “Spidey films a phony movie” plot before, back in ASM #14. The plot didn’t work there and it works even less there. In #14 the Goblin at least contacted a legitimate film exec to handle the deception. Here the Wizard just happens to have the huge amounts of cash required to rent studio space, hire an entire crew and get a fake production going. Why bother with crime if you can make movies? The endgame of his scheme doesn’t work either. The plan was to trick Human Torch and Spidey into killing each other? What was to happen to the survivor? Mysterio doesn’t seem to offer anything either, since the Human Torch costume seems to be the Wizard’s creation. Loading the studio with death traps is also odd and both the giant mechanical gorilla and the magnetized cave are just bizarre, especially with Spidey being able to make magnetic webbing on the spot. In other words, another step down, in a succession of decreasingly memorable annuals, that will conclude with the fifth one. There's little in this issue to justify the purchase; even Spidey using his brains, seems too farfetched, no matter how much you may want to suspend your disbelief.
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Post by Reptisaurus! on Mar 17, 2015 14:03:38 GMT -5
Hey, earliest Spider-man comic I own! (To bad it is maybe the worst issues to date.)
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Post by crazyoldhermit on Mar 17, 2015 14:27:05 GMT -5
Hey, earliest Spider-man comic I own! (To bad it is maybe the worst issues to date.) I haven't really thought much about which is the worst so far but I think this is definitely a contender.
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Post by Ozymandias on Mar 17, 2015 14:54:53 GMT -5
Hey, earliest Spider-man comic I own! (To bad it is maybe the worst issues to date.) Scratch the "maybe".
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Confessor
CCF Mod Squad
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Post by Confessor on Mar 18, 2015 8:11:33 GMT -5
- First appearance of the Coffee Bean (seen only in the special features, not in the story itself). It replaces the Silver Spoon as the main hangout of Peter and the gang. I think I'm right in saying that it's never explicitly stated that when the gang moved from the Silver Spoon to the Coffee Bean that is was a new place. That's always made me wonder if it was actually the same coffee bar, just re-named by the owner. It's been a while since I read these issues, so I could be wrong about that, but the minutiae of the soap opera elements in Peter Parker's life fascinate me.
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Post by Ozymandias on Mar 18, 2015 9:45:53 GMT -5
- First appearance of the Coffee Bean (seen only in the special features, not in the story itself). It replaces the Silver Spoon as the main hangout of Peter and the gang. I think I'm right in saying that it's never explicitly stated that when the gang moved from the Silver Spoon to the Coffee Bean that is was a new place. That's always made me wonder if it was actually the same coffee bar, just re-named by the owner. It's been a while since I read these issues, so I could be wrong about that, but the minutiae of the soap opera elements in Peter Parker's life fascinate me. The Silver Spoon was a ground floor establishment, reminiscent of the classic 50's restaurant look, were high school youngsters have been depicted hanging out, in the movies. The Coffee Bean was in a basement, with a bohemian touch more suited for college students. And since you like trivia, how about this panel? It's the Silver Spoon, but the letters don't match.
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Post by Rob Allen on Mar 18, 2015 11:35:19 GMT -5
Something you'll be seeing soon, and this may be an early example, is little almost-signatures by the production artists who inked the backgrounds. The one who did it most often was Tony Mortellaro; there are lots of cityscape scenes in Spider-Man comics with billboards that say "Backgrounds by Mortellaro", or would if you could see the whole thing. BookSteve has lots of examples in a blog post from a few months ago: booksteveslibrary.blogspot.com/2014/12/backgrounds-by-mortellaro.htmlSo "CRI" (or is it "GRI"?) might be the initials or a fragment of the name of some Marvel staffer.
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Confessor
CCF Mod Squad
Not Bucky O'Hare!
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Post by Confessor on Mar 18, 2015 11:52:03 GMT -5
The Silver Spoon was a ground floor establishment, reminiscent of the classic 50's restaurant look, were high school youngsters have been depicted hanging out, in the movies. The Coffee Bean was in a basement, with a bohemian touch more suited for college students. Ah, right...thanks for the clarification. Yeah, the Coffee Bean was a much more Greenwich Village, beatnik-style place, now you come to mention it.
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Post by Ozymandias on Mar 18, 2015 15:13:34 GMT -5
Something you'll be seeing soon, and this may be an early example, is little almost-signatures by the production artists who inked the backgrounds. The one who did it most often was Tony Mortellaro; there are lots of cityscape scenes in Spider-Man comics with billboards that say "Backgrounds by Mortellaro", or would if you could see the whole thing. BookSteve has lots of examples in a blog post from a few months ago: booksteveslibrary.blogspot.com/2014/12/backgrounds-by-mortellaro.htmlSo "CRI" (or is it "GRI"?) might be the initials or a fragment of the name of some Marvel staffer. I'd say "GRI", with the next letter being either an "L" or an "E".
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Post by Rob Allen on Mar 18, 2015 17:31:19 GMT -5
Something you'll be seeing soon, and this may be an early example, is little almost-signatures by the production artists who inked the backgrounds. The one who did it most often was Tony Mortellaro; there are lots of cityscape scenes in Spider-Man comics with billboards that say "Backgrounds by Mortellaro", or would if you could see the whole thing. BookSteve has lots of examples in a blog post from a few months ago: booksteveslibrary.blogspot.com/2014/12/backgrounds-by-mortellaro.htmlSo "CRI" (or is it "GRI"?) might be the initials or a fragment of the name of some Marvel staffer. I'd say "GRI", with the next letter being either an "L" or an "E". "E" doesn't make a lot of sense, but "L" would fit if the sign said "Bar & Grill". The Silver Spoon wasn't a bar, but maybe the sign was left over from an earlier business. Or maybe Romita forgot that this was supposed to be the Silver Spoon. Or, since this would have been done Marvel style, Romita drew Pete riding past some generic bar and Stan decided to add dialogue as if it were the Silver Spoon.
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