|
|
Post by Ozymandias on Mar 19, 2015 2:09:56 GMT -5
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. I think Romita intended this to be the Silver Spoon, because it's drawn in a way that perfectly matches the way it was represented in ASM #44. Maybe it was someone else doing backgrounds, who took care of the sign, as you mentioned. |
|
|
|
Post by gothos on Mar 20, 2015 17:17:52 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. I agree that the story is dopey but it remains an early favorite, just on the strength of Stan's jokes and the "voices" that he brings to the main characters. Also agreed that the backup features are the annual's best bit. One of the posters on the eatery says something like "Vote for Fu Manchu." These days, I wonder how many comics fans even know who Fu is... |
|
|
|
Post by crazyoldhermit on Mar 21, 2015 22:25:48 GMT -5
The Amazing Spider-Man #53 (October 1967)  “Enter: Dr. Octopus!” Script: Smilin’ Stan Lee Pencils: Jazzy Johnny Romita Inks: Mickey Demeo Letters: Artie Simek Cover: John Romita Summary: The day after the Kingpin incident Spidey hangs outside the Bugle building and reads the paper: Foswell and Jonah saved the day, Spidey and Kingpin are the villains who cost Foswell his life. Jameson yells at Spidey through his window and Spidey chucks the paper in his face then swings off to school. As he swings over the campus he's spotted by Gwen and Flash. Flash is thrilled to see his hero while he's on furlough and Gwen asks him what he'd do if Spidey was someone he really hated. Flash is confident that could never be the case. Harry shows up and asks if they've seen Peter. He's getting pretty sick of always having to take his messages for him. Peter sneaks into the school through the gymnasium but as he climbs down the rope in his civvies he's spotted by Professor Warren. Warren is surprised by Peter's agility and points out his untucked shirt (really the shirt of his costume but Warren is so near-sighted he couldn't tell). He wants to invite Peter to a science exposition and tells him to bring a friend. Peter invites Gwen, who reminds him that she's a science major and would love to go. After class the pair meet Warren (who admires Peter's pick for partner) and they bump into Flash and Harry. Flash is furious that Peter is robbing him of previous Gwen time while Peter is indignant that Flash would try and pull rank. Gwen breaks them up and they leave with Warren. Harry tells Flash that he understand why he had a problem with Peter and Flash believes there's nothing wrong with Peter that couldn't be fixed with a fist. The demonstration at the science exhibit is for a defense device called the Nullifier, which nullifies the homing devices of incoming missiles. Warren expects it to be a practical demonstration of the theories he has been teaching them but Peter is more focused on his buzzing spider-sense. When the demonstration begins the cause for alarm is revealed: Dr Octopus is in the crowd and he's after the Nullifier! He steals the device and uses his arms as propellers to blow away knockout gas. Peter changes into his costume and attacks Ock, drawing him out onto the roof of the building. He webs Ock's glasses which immediately defeats him but Ock throws the Nullifier off the roof. Knowing that Ock will escape as soon as he's out of sight Spidey tags him with a tracer before catching the machine. Ock is able to escape using his tentacles as feelers to guide him and recalls his escape from their previous battle in the Master Planner's lair: He was able to use his arms to stay safe within an air pocket and retrieve a set of scuba gear, which he used to escape through the same path Spidey had. He curses Spider-Man for foiling his newest plan, as selling the Nullifier to a hostile nation would have given him the funds needed to form a criminal empire. He finds the tracer and quickly figures out how to use it to turn the tables on Spidey. Peter returns to Gwen and Warren with the alibi that he was looking for a camera. Warren drops them off at the Coffee Bean and imagines how fascinating a psychological analysis of Spidey would be. Gwen and Pete join Flash, Harry and MJ. Peter senses Harry's anger and wonders if he's jealous over losing Gwen, while MJ seems to show a little jealousy herself. Aunt May and Anna Watson show up to tell Peter that they're renting out Anna's spare room. Peter warns her about dangerous boarders. He takes Aunt May home and heads out after the tracer. Ock has planted the tracer on a dummy of himself but when Spidey swings by it sets off his spider sense. Suspecting a trap he peers in and sees that the tracer is on a chair, rather than on Ock. He throws a web ball inside and it sets off a massive explosive. Ock believes he has killed Spidey and gets to work planning his new lair and a new plan to capture the Nullifier while Spidey vows to capture him. Observations: Ock returns! He’s been MIA for close to two years and while I never got the impression that he perished during his base’s collapse it was neat to see that get a little resolution. I really like Ock but his appearance here is his least inspired. His scheme is to hijack a weapon and sell it to the Communists. Ok? In his first appearance he was bent on world domination via nuclear power. In his second appearance he was focused on getting some quick cash to get his operations afloat. On his third appearance he wanted to get rid of Spidey. And in his fourth appearance he was back to his original goals, establishing himself as a master criminal complete with a new, secretive identity. A close cousin of the Dr Evil scheme feels like a step down from his previous grandeur. Granted he’s back starting from scratch after his last fiasco but surely if he had the resources to put together that sort of operation he’d have set something aside. It doesn’t help matters that he is so easily defeated. Ock has traditionally being Spidey’s toughest foe but here he is completely incapacitated by some web to the eyes. He doesn’t look as dynamic drawn by Jazzy John as he did under Ditko’s pen. Ditko used Ock’s arms to create an extreme sense of depth, reaching deep into the foreground or background for a three dimensional effect. Ditko also gave the tentacles a little more life in their grasping and movement. Romita draws them very gracefully in smooth arcs but thats pretty much all they do, they just float and spin in space. Like the Goblin Ock is a villain that doesn’t translate well, although Romita at least admits the difficulty in drawing the character. On Stan and John’s fifteenth issue the final lingering Ditko subplot is resolved. Peter and Gwen’s romantic tensions have been going since her introduction in #31. First she likes Peter and he ignores her. Then he likes her but she feigns apathy. And in the middle Mary Jane comes along and shakes things up. But after 23 issues of teasing Peter and Gwen finally have their date. Sure they’re chaperoned by Professor Warren but that doesn’t stop Gwen (and the series) from making a big step forward by throwing her arms around Peter, by far the most physical intimacy seen in the series so far. The event reinforces the fact that Gwen is a scientist like Pete. Supermodel good looks and brains? Some would cry Mary Sue but I withhold such judgments, as if anything it’s more believable for Peter to get together with someone with a common interest as opposed to someone who doesn’t really offer anything other than a fun attitude. As Peter’s relationship with Gwen gets a boost his other friendships suffer. Harry is angry with Peter for his unexplained absences (his prior dating of Gwen is considered a possible reason by Peter but Harry doesn’t seem to be concerned about that) while Flash seems to have forgotten all the goodwill he and Peter parted with. To round out the supporting cast, Aunt May is actually doing something with herself but if the book’s track record didn’t promise misfortune the next issue blurb showing Ock renting the room certainly would. Overall it’s a good issue that finally starts to pay off on the Gwen Stacy plot but offers only a so-so performance from Ock. 4/5 Other notes: - First date between Peter and Gwen - "Let's all meet later at the Coffee Bean and puff a purple peace pipe!" Marijuana or orgy? - First appearance of the Coffee Bean in story (previously seen in the fourth Annual’s bonus features). - The issue ends on a very somber note. #50 printed a letter from Corporal Leonard Ray St. Clair and Stan promised to send him a subscription in Vietnam. In this issue a letter from India Company HQ is printed informing Stan that Cpl. St. Clair was KIA February 28, 1967. Stan’s response: - The issue's cover was painted for the fifth Marvel Masterworks TPB. I don't recall if Dean White did it like he did the others:  |
|
|
|
Post by coke & comics on Mar 21, 2015 23:58:32 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. I like this issue better than you did. I agree the plot is silly, but I like the "widescreen" action. It's possible they only used the large panel format to fill pages faster, but I appreciate the effect on the action and energy of the issue. Does this feature the first panel taking up an entire two-page spread in Spider-Man comics? |
|
|
|
Post by crazyoldhermit on Mar 22, 2015 1:17:09 GMT -5
Does this feature the first panel taking up an entire two-page spread in Spider-Man comics? It seems so. |
|
|
|
Post by Ozymandias on Mar 22, 2015 3:00:07 GMT -5
In his first appearance he was bent on world domination via nuclear power. In his second appearance he was focused on getting some quick cash to get his operations afloat. On his third appearance he wanted to get rid of Spidey. And in his fourth appearance he was back to his original goals, establishing himself as a master criminal complete with a new, secretive identity. A close cousin of the Dr Evil scheme feels like a step down from his previous grandeur. Granted he’s back starting from scratch after his last fiasco but surely if he had the resources to put together that sort of operation he’d have set something aside. He doesn’t look as dynamic drawn by Jazzy John as he did under Ditko’s pen. Ditko used Ock’s arms to create an extreme sense of depth, reaching deep into the foreground or background for a three dimensional effect. Ditko also gave the tentacles a little more life in their grasping and movement. Romita draws them very gracefully in smooth arcs but thats pretty much all they do, they just float and spin in space. Like the Goblin Ock is a villain that doesn’t translate well, although Romita at least admits the difficulty in drawing the character. On Stan and John’s fifteenth issue the final lingering Ditko subplot is resolved. Peter and Gwen’s romantic tensions have been going since her introduction in #31. First she likes Peter and he ignores her. Then he likes her but she feigns apathy. And in the middle Mary Jane comes along and shakes things up. But after 23 issues of teasing Peter and Gwen finally have their date. Sure they’re chaperoned by Professor Warren but that doesn’t stop Gwen (and the series) from making a big step forward by throwing her arms around Peter, by far the most physical intimacy seen in the series so far. The event reinforces the fact that Gwen is a scientist like Pete. Supermodel good looks and brains? Some would cry Mary Sue but I withhold such judgments, as if anything it’s more believable for Peter to get together with someone with a common interest as opposed to someone who doesn’t really offer anything other than a fun attitude. As Peter’s relationship with Gwen gets a boost his other friendships suffer. Harry is angry with Peter for his unexplained absences (his prior dating of Gwen is considered a possible reason by Peter but Harry doesn’t seem to be concerned about that) while Flash seems to have forgotten all the goodwill he and Peter parted with. His "Dr Evil" finances, were probably the sketchiest part of the character. One minute he seemed to have unlimited funds, the next he was fighting for scraps. Romita's rendition of Doc Ock never struck me as bad, but you're right, Ditko's was better. Just before "throwing her arms around Peter", we see a new aspect of the character, worried Gwen, which is hardly a coincidence. No, he doesn't, and Harry won't ever show any complaints in that department. Flash, on the other hand, tries to play the ex-boyfriend card, but is quickly shut down by Peter, with the simple fact that such a thing never happened, something which had previously been hinted by Harry. |
|
|
|
Post by crazyoldhermit on Mar 22, 2015 10:38:55 GMT -5
No, he doesn't, and Harry won't ever show any complaints in that department. Flash, on the other hand, tries to play the ex-boyfriend card, but is quickly shut down by Peter, with the simple fact that such a thing never happened, something which had previously been hinted by Harry. Flash seems to be the only one who is unable to understand that there is a total lack of commitment amongst these youngsters. In fact, he seems to skew the other way, where any woman he is interested in and shows the slightest signs of reciprocation becomes his. |
|
|
|
Post by Ozymandias on Mar 30, 2015 3:16:51 GMT -5
In absence of our COH, I'd like to point out that there was one "ASM" comic that took place just before issue 53, at least according to my estimations. |
|
|
|
Post by kongat44 on Jun 14, 2015 17:56:59 GMT -5
WOW! Great thread.
I don't have to much to add. Issue #48 you mentioned got a new Spidey drawing in the box on the top left hand corner that would last for many years. That it did, it is also interesting to note that it was drawn by Steve Ditko, it is the cover of Amazing Spider-Man annual #2.
I agree 4 of the last 5 Ditko issues were not really so hot, and the last one was just plain bad, but issue #37 was actually quite good and it looked like he was Steve might have been getting his second wind before the curtain came crashing down with A Guy Named Joe. But issues #5 through #33 are pretty sweet, and quite an amazing run, if you just remove that issue with Daredevil that is. I hate those long adverts for other characters.
As for issue #50, I think it was the best Stan and Romita had done up to that point, but it is still a lot of ideas from the Lee/Ditko, Maybe, Spider-Man #18, with the last scene being stolen right out of issue #13. So good, yes, but I have to take a few points off for the steals.
I have to say that under Romita, it is a solid book, it is just not the surprise of never knowing what is in store for you like the Ditko run. Even though at a young age I thought the Romita issues were better, when they reprinted the first fifty in 1982 I changed my mind, and that goes for the art as well, Romita is a competent and pretty artist, while Ditko is wildly imaginative and a master storyteller. In my opinion.
|
|
|
|
Post by kongat44 on Jun 14, 2015 18:24:00 GMT -5
A few more art notes. Amazing Spider-Man #1 the cover is by Kirby, issue #10 Spidey is by Kirby, the Enforcers are drawn by Ditko, issue #35 Spidey is again a Kirby, having redrawn the rejected Ditko cover, the rest including the molten man is Ditko. The Splash page for issue #11 the Spidey is drawn by Kirby, with the exception to the head, and Betty Brant, which is drawn by Ditko.
|
|
|
|
Post by sabongero on Jun 19, 2015 17:34:13 GMT -5
 The Old Gwen has a prominent widow's peak, very silky hair and narrow cat-like eyes. The New Gwen has bangs covering her widow's peak, softer bouncy hair and wider eyes. John just had to add a few new touches to the Ditko model and there she is. Wow! I'll need to dig up my old Marvel Tales reprints of Amazing Spider-Man back in the 1980's. Back then (in the mid 1980's, as I was somewhat familiar with Spider-Man and his run-ins with The Black Cat, Felicia Hardy, for some reason I thought that early Gwen somewhat reminds me of Felicia. And you just nailed the point in your description. These two depictions of Gwen Stacy could be mistaken for two different characters if new readers did not come across the illustration of the Gwen Stacy of the previous issues. The previous iterations is indeed more cat-like and akin to that Selina Kyle-like type. Whereas the second illustration is more "wholesome" looking in nature. Well perhaps that's just me and how I view the two illustrations of Gwen. John Romita Sr. just illustrates ASM with more eye-pleasing characters. Perhaps it is because he was illustrating the romance genre for quite some time, that he just illustrates a more beautiful face than Steve Ditko. I hope you don't mind me joining in here in this great Amazing Spider-Man thread. Glad to have found this site. |
|
|
|
Post by kongat44 on Feb 5, 2016 21:49:08 GMT -5
The Amazing Spider-Man #35 (April 1966)  "The Molten Man Regrets...!" Script: Stan Lee Editing: Stan Lee Plot: Steve Ditko Art: Steve Ditko Letters: Art Simek Loitering: Art Simek Cover: Steve Ditko I just want to point out that the Spider-Man figure here was drawn by Jack Kirby, after Stan did not like the Ditko Version. Just look at it, and you know it's true. |
|
|
|
Post by Rob Allen on Feb 10, 2016 18:50:48 GMT -5
The Amazing Spider-Man #35 (April 1966) "The Molten Man Regrets...!" Script: Stan Lee Editing: Stan Lee Plot: Steve Ditko Art: Steve Ditko Letters: Art Simek Loitering: Art Simek Cover: Steve Ditko I just want to point out that the Spider-Man figure here was drawn by Jack Kirby, after Stan did not like the Ditko Version. Just look at it, and you know it's true. More details, including the Ditko original: nick-caputo.blogspot.com/2011/08/rejected-covers.html"A side by side comparison clearly shows that Ditko's Spider-Man figure was redrawn by Jack Kirby, with inking likely by Sol Brodsky. This cover came up in a phone conversation I had with John Romita some years ago. He recalled he was in the office when Kirby was fixing the cover, and Kirby was joking that he always had to fix Ditko's butts." |
|
|
|
Post by kongat44 on Feb 15, 2016 19:10:03 GMT -5
Thanks for the link, I did not know any personal details about it, just that it had been done.
|
|
bran
Full Member
Posts: 223 
|
Post by bran on Nov 29, 2018 9:52:47 GMT -5
What is Norman Osborn scheming?Will Gwen and Peter hook up? - Peter no longer has any real interest in MJ. Gwen seems to be manipulating him. Is Peter's spider sense failing?Will Peter meet Mary Jane?Where is Betty?Who is the Green Goblin?
Now that was a stroke of genius, those small threads that are developing along the way. They give a sense of continuity and also serve as a
substitute for missing long story-arcs. Now-days authors have a luxury of planning (so they can dedicate say 6 issues for a singular longer story) but they often
forget (or need to lose their nerd-card) to leave some things unresolved, to just plant and develop (not everything has to be explained and resolved immediately 100%).
And as that is not enough, I guess Stan figured you don't have to have a single big Mystery (with capital M like that) to keep readers interested, even better - have several smaller
threads instead, it adds up. My favorite one is - will he choose Gwen or MJ (or maybe both, hold on 70s were not that far away... imagine the outrage). If you turn Tv right now, in any given country, find any telenovela - it has exactly the same thing going, whilst usually with main female protagonist (there are 2 suitors, one is say reach and pretty and boring beyond belief, and other one is poor and attractive; which one will she choose?).
It's the oldest trick in the book, but it worked, almost always does. The only secure way to kill that thread was to have one of them killed, and to have Peter marry the other one, wait... |
|
