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Post by crazyoldhermit on Feb 15, 2015 5:01:09 GMT -5
The Amazing Spider-Man #7 (December 1963)  "The Return of the Vulture!" Script: Stan Lee Art: Steve Ditko Letters: Art Simek Cover: Steve Ditko Summary: The Vulture has been a model prisoner and so had been granted access to the machine shop by what is apparently the dumbest man in New York. Of course, Vulture takes advantage of his new priveleges to build a new flying harness and escape. In gym class Peter hears about the Vulture's escape and feigns sickness to be excused. He goes home, gets changed and gets his anti-magnetic device, then using his spider-sense waits until the street is deserted before leaving (as he doesn't have the cover of night). The Vulture has built himself a proper costume again and immediately robs a jewelry store. Thanks to his spider sense Spidey is able to track him down and snap a picture before activating the device. But Vulture improved his costume to be resistent to the device. Playing possum, Vulture plummets and draws Spider-Man attention before sneak attacking him. He explains to our hero that he built a failsafe into his costume so that it will immediately recharge if the magnetic signal is ever disrupted. He knocks Spidey out of the air and he lands hard on a rooftop, spraining his arm. Heading home (did he swing? Walk? Take the bus?) he sneaks into the house (having a near run-in with Aunt May) and gets taken to the doctor. The arm is out of commission for a few weeks and at school he gets teased relentless for it (to Liz's delight). At his Staten Island hideout (the same silo as before, as it went undiscovered last time) Vulture plans his next heist: The Daily Bugle payroll. Peter is already there, flirting with Betty and trying (unsuccessfully) to sell his photo of the Vulture, when chromedome shows up and demands Jameson handover the payroll. Jameson stands up to the Vulture as Peter sneaks away to change, discreetly creating a webbed sling. Coming through the window as Spider-Man he trashes Jameson's office trying to get to Vulture, who flees down the stairwell. Spidey chases him into the press room and they fight among the machinery. Soaring out the window, Vulture tries to sneak attack Spidey again but Spidey holds onto him. When Vulture tries to fly up high and drop him Spidey webs his wings to his body. They both fall but Spidey is able to create a web parachute and leaves Vulture for the police. Out his office window Jameson calls for Spidey. Spidey thinks he'll be getting thanked but no, Jameson blames him for the trashed premises! Spidey webs his mouth and goes back in another window to change. He finds Betty hiding in an office and admits that he was scared and hid in a closet. Betty appreciates his honesty and as the gagged Jameson runs past them Peter suggests they take advantage of his silence to spend some time together. Observations: This one felt like another step back. Yes, I am biased against the Vulture but even ignoring that this one just wasn't very creative. Instead of using his wits as we've grown accustomed to Spidey beats Vulture just by tying him up. The schoolyard kids barely feature, with Liz's crush on Spidey going unmentioned. The only significant development is the last page, where Peter and Betty hook up (by 1963 standards of course). Peter uses the "blue eyes" line, which previously melted Liz Allan's heart, on Betty. A far cry from the wallflower of August 1962. Even though I don't like the Vulture this issue felt like it didn't do him justice. In his last appearance he would soar in from above up or pop out of a sewer, he was much more dramatic with his abilities. Here his M.O. is to fly in the window of a business and hold them at gunpoint. Gunpoint! And aside from that, it's not explained why he doesn't just sell his flight technology. This is a question that was just as valid last time but here it sticks out even more as he's reduced to being a stickup man. He was doing well in prison, why not keep that up and try to get paroled? Doc Ock had amazing technological developments but he wasn't interested in money. Sandman couldn't seek legitimate profit because he was an escapee. And the Lizard could have made a fortune but chose not to out of principle. The Vulture makes it easier to appreciate how much more advanced those characters were and how far the book has come in the scant seven months since the Vulture's debut. Overall I can't give this more than 2/5. It's completely middle of the road, which would earn any other series a 3, but in the context of this series "middle of the road" means "totally underwelming." -First time Spider-Man suffered a lasting injury -First time a villain returned -First time Peter hid from Aunt May by hiding on the ceiling -When Spidey webs up Vulture's gun it makes a "Thwup!" sound effect, edging closer to the famous "Thwip!" -Peter mentions Jameson will be gagged for an hour, the first explicit mention of an expiration date on the webbing. -The battle with the Vulture took place months ago, implying this series moves forward in real time or close to it. -Peter Parker's neighborhood is revealed to be Forest Hills in Queens, a rather affluent neighborhood less than 10 miles from Manhattan. It makes you wonder how Spidey is able to get into Manhattan so fast with so few tall buildings -The Vulture flies low in the streets to avoid being detected by police radar. Of course, nowadays the far bigger risk would be every person in the city filming him or calling the cops on sight of him. And post 9/11 the idea of anything being able to fly unchecked between the buildings of Manhattan without people freaking up is absurd. -The logo is slightly altered again. This time the word "Spider-Man" gets a drop shadow allowing for a two-tone configuration. The yellow/red combo used here would prove to be especially popular with Marvel, being used with the 1994 animated series and the 2008 series "The Spectacular Spider-Man" (albeit with different logos). |
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Post by Ozymandias on Feb 15, 2015 9:34:54 GMT -5
Peter uses the "blue eyes" line, which previously melted Liz Allan's heart, on Betty. A far cry from the wallflower of August 1962. And aside from that, it's not explained why he doesn't just sell his flight technology. -The battle with the Vulture took place months ago, implying this series moves forward in real time or close to it./quote] It's not surprising that someone wielding so much power, would gain confidence. It would take Stern (who else?) to do an appropriate retelling, of the Vulture's origin (ASM #240-241). That's the impression you get while reading the Ditko issues, as well as the earlier Romita. Certain facts also sustain that feeling, like finishing high school, starting college, Flash joining the army… |
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Post by crazyoldhermit on Feb 15, 2015 9:47:47 GMT -5
It's not surprising that someone wielding so much power, would gain confidence. It would take Stern (who else?) to do an appropriate retelling, of the Vulture's origin (ASM #240-241). That's the impression you get while reading the Ditko issues, as well as the earlier Romita. Certain facts also sustain that feeling, like finishing high school, starting college, Flash joining the army… Thats why I never understood people complaining about the much peachier Romita run. It's a natural progression of the character that started all the way back in these early issues. But I'm getting ahead of myself.... I was pretty surprised when I read Stern's run and learned that it took 20 years for someone to give him an origin story or even a name! There are a lot of indications of the early Marvel universe progressing in real time, both within Spider-Man and outside. The explanation I've read is that the MU passed in real time for several years (explaining Reed and Sue's engagement, marriage, pregnancy, birth and little Franklin's toddler years) before time froze in 1968 - incidentally (or not), the year Martin Goodman sold the company. |
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Post by crazyoldhermit on Feb 15, 2015 12:41:15 GMT -5
The Amazing Spider-Man #8 (January 1964)  Cover: Steve Ditko "The Terrible Threat of the Living Brain" Script: Stan Lee Art: Steve Ditko Letters: Art Simek Summary: At Midtown high two men wheel a very bizarre looking robot into Mr Warren's science class. Flash and Peter immediately disagree over it and Flash accidentally knocks Peter's glasses off, breaking them. The two almost come to blows but are interrupted by the robot's creator, Mr Petty of I.C.M., explaining the machine. It's a highly advanced (ha!) computer called The Living Brain. Not only is it mobile and dextrous, it's highly intelligent and can answer any question. Mr Warren nominates Peter to demonstrate the machine. Peter, who is fascinated with computers (hilariously referred to as "electronic brains"), gets the hang of it pretty quick. Mr Petty's speech has also convinced the two men who wheeled it in to steal it. Liz Allan suggests the Living Brain should be asked about Spider-Man's secret identity. They feed it pertinent info about Spidey: He's 5'10", 160lb and seems to live in Forest Hills. Peter reluctantly inputs the data and, with a gulp, retrieves the answer. Luckily for him it's written in a mathematical formula that Peter is assigned to translate for homework. Flash says Peter is too weak to look after such important information and they argue over it. Mr Warren has had enough of this crap and suggests they settle their feud with a fight in the gym. Once gloved up the two combatants face each other down. Peter's reflexes let him evade Flash completely and he hits Flash as softly as he can. The punch knocks Flash right out of the ring to the confusion of everyone and the horror of Peter, who thinks he's just blown his cover. At that moment the two lunkheads try to steal the Living Brain but accidentally activate it. The thing runs amok through the school. Back in the gym, Flash and Peter face off in round 2. Peter decides that a punch is too much so he just backhands him. But right when he does Flash hears a scream and turns his hand, making it look like Peter suckerpunched him. The classmates call Pete out on bad sportsmanship and he take the unconscious Flash to the locker room. With Flash tucked away he changes into Spidey and heads after the Living Brain. All of his efforts to stop the Brain are futile. He needs to access the control panel to turn it off but the machine is strong enough to resist Spidey's attacks and worse, smart enough to memorize each tactic which forces Spidey to keep trying new things while trying to get the school evacuated. But just as the Brain is about the smash a couple kids Spidey leaps on its back and turns it off. As thats happening the two momos who tried to steal the thing trip over Flash Thompson. The kids are impressed by Flash knocking them out and Peter adds fuel to the fire by suggesting Flash is actually Spider-Man. After all, Flash tied to get ahold of the Living Brain's answer AND he was unaccounted for during its rampage. Pleased with the day's events Peter walks home a happy man. "Spider-Man Tackles The Torch!" Script: Stan Lee Pencils: Jack Kirby Inks: Steve Ditko Letters: Sam Rosen Summary: Doris Evans, The Human Torch's girlfriend, is throwing a party and Spidey wants to show her what she's been missing by dating the Torch (what she hasn't been missing: Johnny's 1963 Corvette). Spidey crashes the party while Torch is entertaining the guests and the two start to fight, which leads them out to the coast of Long Island. Spidey is just starting to lose his edge when the Fantastic Four show up. The Thing jumps into the fray but Sue defuses the situation. She thinks Spidey's adorable (in a "Hey look at this goofy kid" sort of way, I think) and she tries to make them bury the hatchet with a handshake but both refuse. As Spidey leaves he leaves a heart made out of webbing for sue. Observations: The Living Brain, like The Terrible Tinkerer, is a bit of a holdover from the 50s. But unlike the Tinkerer, which is nothing but dated formula, the Living Brain is actually pretty enjoyable. It doesn't pack anywhere near as much punch as the villains Stan and Steve had been introducing lately (let alone those to come in the near future) but the idea of a villain that memorized your moves made for some inventive action and the thing's resilience (and Spidey's refusal to give up) reminded me of the "Nothing Can Stop The Juggernaut" from far in the future. And hey, the ridiculously dated technology is really funny. But the real joy is in finally seeing Peter sock Flash on the jaw... twice! And get away with it! The idea that a teacher would ever let a bully and his victim fight in the gymnasium to settle their differences is as hilarious as the computer talk. While The Living Brain isn't perfect, it's miles better than the backup. Spider-Man acts like a total ass, crashing a party and attacking Johnny for no reason. In the context of this series it makes no sense, as Spidey and Johnny had previously been on friendly enough turns. But in "Strange Tales Annual #2" (which is included in the omnibus but I've decided not to review) the two have a more antagonistic rivalry with a lot of oneupmanship. Both that story and this one were drawn by Jack Kirby rather than Spider-Man which would explain this inconsistency. Kirby's take on their relationship would eventually prevail over Ditko's blander interpretation. But in this story it's a total misfire. The Terrible Threat of the Living Brain: 3/5Spider-Man Tackles The Torch!: 1/5Other notes: - This issue marks a major turning point in Peter's physical appearance as he sheds his glasses for good, noting that he didn't actually need them and only wore them to keep up his wimpy image. In later retellings of the story he usually stops wearing glasses after the bite. - NOW magazine makes another appearance, with good reason. It makes more sense to Liz Allan to be carrying about a teen magazine rather than a newspaper. - The Marvel method produced many great comics but wasn't without its pitfalls. This panel was clearly drawn to be Peter worrying about certain characters learning his identity, while Stan's dialog has nothing to do with the Vulture or Aunt May. |
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Post by Ozymandias on Feb 15, 2015 14:43:30 GMT -5
[…] time froze in 1968 - incidentally (or not), the year Martin Goodman sold the company. It's quite safe to lose the brackets. The Living Brain, like The Terrible Tinkerer, is a bit of a holdover from the 50s. Issues 6 trough 8, were a little bump, on the creative team's road to betterment. The weakest ones since they embraced full-length stories, and the lowest point of their whole run, too. |
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Post by crazyoldhermit on Feb 15, 2015 16:20:54 GMT -5
The Amazing Spider-Man #9 (February 1964)  "The Man Called Electro!" Script: Stan Lee Art: Steve Ditko Letters: Art Simek Cover: Steve Ditko Summary: New Yorkers watch as Spidey races across town. Some thugs in a shootout with the cops surrender when they spot Spidey coming... except he isn't after them at all! When he reaches his neighborhood he starts dressing himself as he runs home. Aunt May is very sick and he has medicine for her but it might not be enough. He keeps vigil at her bedside. Elsewhere, a man puts on an absolutely ridiculous green and yellow costume and stands under some heavy duty electrical equipment. Charged with power, Electro heads out and robs an armored van of its cargo. The guards initially scoff but after a show of electrical power they surrender. At Peter's house the doctor tells him the bad news: Aunt May has to go to the hospital. At school he is very distracted and ignores his classmates' taunts. Flash Thompson, who has started to reconsider his opinion of Peter after their fight, tries to talk to him seriously but gets blown off. Peter visits Aunt May and finds Betty Brant there. After the visit they leave together but Peter is too busy to walk her home. She wonders about his inner demons (Stan's dialog is at an all-time cheese level here). Spidey is trolling NYC looking for crimes to photograph. His work is cut short by a rainstorm, as his camera is too cheap to work well in the rain. He wrings out his soaked costume in the sink and tries to study for midterms but finds the circumstances of his life to be too distracting. The next day at the Forest Hills bank Jameson is harassing his accountant. The accountant is saved by the arrival of Electro. Using his mastery of electricity he breaks into an electronically locked vault and climbs up the side of a metal building. Jonah, being a complete and total idiot, assumes it's Spider-Man in disguise and begins a new campaign against him, adding to Peter's substantial stress levels. Things go from bad to worse when he finds out Aunt May's surgery will cost him $1000 (almost $8000 today). Jonah turns him down for a loan and asks for photographic evidence of Electro being Spider-Man. That gives Pete the idea to capture Electro and collect the reward. After hours of searching he finds his bounty breaking into a hidden safe. After snapping a few pictures Spidey strikes but when he touche Electro he gets electrocuted and knocked unconscious. Assuming him to be dead, Electro briefly pities the hero but is happy to now run unopposed in his crime spree. With no other option, Peter takes more photos of himself and using the 1963 edition of Photoshop creates a photo montage that looks as though Electro is changing into Spider-Man. He gets his money but feels horrible about it. When the paper hits the stand the readership is skeptical and Electro thinks it's hilarious. He thinks back to his origin: An amoral, self-centered electric lineman named Max Dillon got struck by lightning while up a pole. The surge of electricity changed his body and turned him into a battery. When he accidentally touched a wire coathanger and created an arc he realized his potential and rigged up a wire harness so he could throw arcs of electricity. Investing all of his money in electrical equipment he maximized his power and turned to larceny. His next plan is ambitious: Cause a breakout at a detention center and hire them as a gang. He busts in and creates an electrical barrier to keep the cops out. Peter hears the report of the break-in but needs to check up on Aunt May before her surgery. He promises to stand vigil during the operation. Betty joins him and they sit in silence. Hours later the operation is successful. Peter is relieved and so is Betty. She needs to get back to the office, as Jameson has left to cover the prison riot. She begs him not to go photograph the event but he tells her he has to, it's how he makes a living. She's worried that he's becoming a thrillseeker like someone else she knew. On his way to battle Electro Spidey grabs a few supplies from a store. As he arrives at the detention center he's spotted by JJJ, who realizes his theory about Electro was false and blames it on Peter. Inside the jail he sets up his camera, puts on rubber gloves and shoes and announces his presence with the spider signal. Spidey employs several strategies against the villain: He throws a metal chair to divert an electrical attack, trips him with metal ball bearings and distracts him by throwing sand at him (his electrical attacks turn the sand to glass). Electro briefly gains the upper hand by using some cables as whips but Spidey puts him down with a firehose. He grabs his camera and leaves and heads to the Bugle. Jonah is furious at Peter for faking the pictures. He fires him and tells him he'll be suing him but Peter is prepared. First of all, he can't be fired as he's a freelancer, not an employee. And secondly, he has some genuine action shots of Spidey and Electro. Jonah agrees to forgive him in exchange for free pictures, which Peter agrees to. His guilt may be assuaged but Betty gives him the cold shoulder. Peter reasons with her, saying he needed to take the pictures for his livelihood. Betty explains that she dropped out of school to work at the Bugle because she knew someone like him. Offended, Peter leaves to visit Aunt May, who tells him that she's very fond of Betty. Feeling bad for walking out on her Peter goes to apologize but finds Betty running down the street to apologize to him. They leave the hospital together. Observations: After a couple weak issues Stan and Steve at back in good form. In the same vein as ASM #3, #4 and #6, this is a dense issue that introduces a creative new villain while also moving the social plot forward. Electro is an oddball for sure. Of the villains so far, he's the first one to turn to crime after getting his super powers. He was just an average joe who lucked into power and said "screw being a working stiff." The nature of his powers goes back and forth. On one hand, it's unconventional for a guy with electrical powers to actually have to rig himself up in a way to take advantage of them. He can't just throw lightning bolts, he has create an arc. Thats a realistic treatment of electricity and it reminds me of Peter having to make his own webs. On the other hand, in the Marvel Universe electricity is apparently magical and can be thrown in big bolts like Zeus. How he uses his powers are pretty creative, from sensing metals to turning him into a human magnet. Visually he is unforgettable (in good and bad ways: As ugly as the costume is, it's hard to find a suitable replacement), although his electrical powers look rather lackluster (one area where modern art has the advantage for sure). Peter's career at the Bugle gets played with again. For the second time he sells photos of Spidey to the Bugle (the first time he's sold anything to them since #4, aside from one shot of the Vulture for cheap last issue) and for the second time they're staged. Worse, they're completely forgeries! By the end of the issue he hits a new milestone, finally selling legitimate photos of Spidey in action seven issues after he started working for them. Again, interesting that he's commonly remembered as building his career at the Bugle on the basis of his Spider-Man shots when in actuality he had even been caught forging pictures before he actually turned in some proper Spidey photos. Betty Brant starts to get some character development beyond being that nice lady who likes Peter. For starters, we find out that she's a teenager like Peter who needs to work a job to support herself, which clears up the unpleasant business of a working woman chasing after a 16-year-old. Betty also has some troubles in her past, which we will be privy to next issue. Overall it's a Lee/Ditko classic. Not as groundbreaking as ASM #3 but a welcome return to form. 4/5Other notes: - First time Aunt May falls ill - Peter notes that he has midterm exams coming up, setting the story in around the New Year. Considering comics were cover dated two months ahead of release, this issue would have been set around the same time it was released, December 1963. The series can't be progressing in true real time though, otherwise #4 and #5 would have been set during Summer vacation. So theres some leeway but it can be assumed that the timeline is progressing forward a month with every issue. - Jameson having an account at a Forest Hills bank indicates that he lives in the area, which would make sense because as far as I can tell there is quite a bit of wealth in the neighborhood. |
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Post by Roquefort Raider on Feb 15, 2015 20:38:29 GMT -5
The Amazing Spider-Man #8 (January 1964) Cover: Steve Ditko "The Terrible Threat of the Living brain!" What could be less threatening than the menace of a dead brain? You gotta love those 60s titles!!! |
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Post by Ozymandias on Feb 16, 2015 4:55:18 GMT -5
After a couple weak issues Stan and Steve at back in good form. In the same vein as ASM #3, #4 and #6, this is a dense issue that introduces a creative new villain while also moving the social plot forward. Betty Brant starts to get some character development beyond being that nice lady who likes Peter. For starters, we find out that she's a teenager like Peter who needs to work a job to support herself, which clears up the unpleasant business of a working woman chasing after a 16-year-old. Except for a slight tweak previously mentioned, we're in agreement here, issue 9 got ASM back on track. What an oversight! I always assumed she was older, because of her appearance and the fact that Liz used to call her "Miss Brant".  |
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Post by crazyoldhermit on Feb 16, 2015 5:41:48 GMT -5
Except for a slight tweak previously mentioned, we're in agreement here, issue 9 got ASM back on track. What an oversight! I always assumed she was older, because of her appearance and the fact that Liz used to call her "Miss Brant". #9 is the beginning of the real hot streak in the book. Not only is Electro the start of a run of great new villains, it also introduces the first real continuing plot after a year of minor subplots. The next year of stories features the introduction of The Enforcers, Mysterio, The Green Goblin, Kraven the Hunter and The Scorpion, the return of Doc Ock and the Green Goblin, the first two and three parters, the Mary Jane mystery and of course the fantastic first annual featuring The Sinister Six. It has to be one of the best years on any book ever and it's my favorite part of the run. And Betty did look pretty old and dump compared to Liz Allan. I'm guessing this is a retcon (the first retcon of the series?) to keep things kosher now that Peter and Brant are officially a couple. She gets her new haircut soon as well and that de-ages her quite a bit. |
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Post by Ozymandias on Feb 16, 2015 6:27:21 GMT -5
And Betty did look pretty old and dump compared to Liz Allan. I'm guessing this is a retcon (the first retcon of the series?) to keep things kosher now that Peter and Brant are officially a couple. Maybe Lee and Ditko had a different opinion, over what her age should be. I personally don't have much a problem, either way. |
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Post by crazyoldhermit on Feb 16, 2015 7:51:25 GMT -5
The Amazing Spider-Man #10 (March 1964)  "The Enforcers!" Script: Smiling Stan Lee Art: Swinging Steve Ditko Letters: Sparkling Sam Rosen Cover: Jack Kirby Summary: Hearing Spider-man is heading towards them, a masked man calls for Operation Hi-Lift to begin. A burglar is perched on the end of a flagpole with a bag of jewels. Spidey sees him and goes to grab him when the man is yanked up in the air. He's wearing a harness connected to a helicopter. Spidey swings up to the chopper got gets a snoot full of gas and falls. The crowd below watches Spidey's failure and aren't impressed. The masked man, known as The Big Man, meets with a room full of mob bosses. He tells them he's taking over their rackets and will rule the entire city. To back up his demands he has brought The Enforcers, a trio of crooks with specialized abilities. Fancy Dan is a highly agile judo black belt. Ox is a very large, resilient and strong thug. And Montana has an almost supernatural level of proficiency with his lasso. After demonstrating their skills on the rebellious bosses The Big Man is granted control of the city. At the Forest Hills hospital Peter is surprised to find Liz and Flash waiting for them. Liz heard about Aunt May and Flash claims he was forced to come (but Peter knows Flash doesn't want him to know how soft he is). The Doctor tells Peter that Aunt May needs a blood transfusion. Worried about his radioactive blood being discovered, Peter initially refuses but Liz and Flash make him reconsider. The transfusion proceeds as planned and the radiation in Peter's blood isn't detected. The doctor warns him that he'll be feeling a little groggy for the next few days and Peter wonders if the loss of blood will weaken his powers, as his powers come from the radiation in his blood. With Aunt May on the mend their next door neighbors have invited her to a week-long trip to Florida, leaving Peter alone for the first time. Meanwhile, the Big Man's rise to power has started a massive crime spree. Several daring heists take place (including the abduction by helicopter of a train car!) and when arrests are made it's only small fry. J Jonah Jameson is sick of police pursuing small timers when they could be going after Spider-Man, who believes cooked up the whole Big Man urban legend. At his office he orders columnist Frederick Foswell to begin a series of articles proving Spider-Man is the Big Man. Foswell's protests that Jameson has no proof and that after last month's Electro debacle the public's faith in the paper is on shaky ground. But Foswell likes getting a paycheck so he relents. Outside the building Betty Brant as a meeting with... The Enforcers? She's taken out a loan with the Big Man and is now being charged huge interest on it. Peter sees this balogna and intervenes but lets himself be beat up a bit to preserve his identity. Betty doesn't want to let him in on her secret and runs from him. Peter interprets this as her not really caring, while actually she wants to protect him because she's grown to care for him so much. Peter decides to be a little more proactive and becomes Spider-Man. Intimidating a thug with a fake spider made of web and lumber, he gets the Enforcers' location and heads over to confront them. But the combination of their talents, their greater numbers and Spidey's temporary weakness means our hero is outclassed and needs to beat a hasty retreat. Catching his breath in the alleyway he sees Jonah walking by. Figuring that The Big Man would need to be intelligent, wealthy and savvy, Jonah actually makes for a good suspect. At home he calls Betty but she hesitates to answer. When she does pick up the phone she says she'll talk to him the next day. After hanging up she makes the decision to leave town for his own protection. At the Bugle Peter asks about Betty but Jonah hasn't seen her. He doesn't care that shes missing, all he cares about is having to train a new one. He orders Peter to bring more photos and to tell Foswell to hurry up with his column. Peter asks Foswell if he actually believes Spidey is the Big Man. Foswell just types what he's told. At home Peter considers the possibility of Jonah being the Big Man. After all, why else would he be so adamant about blaming Spider-Man? He needs to infiltrate the Big Man's operation but he can only think of one way to do so: Be captured as Peter Parker. At a newsstand Peter boasts loudly that he's figured out the Big Man's identity. Flash takes him aside and tells him to shut up before he gets in trouble but it's too late: An informant hears about it and reports to The Big Man. Surprisingly, The Big Man knows who Peter is! That night Peter calls the police as Spider-Man and tells them to look for a signal that will lead them to the Enforcers. Then he wanders around the bad side of town until the Enforcers pick him up. He's surprised to hear The Big Man knows who he is and begins to seriously think he's actually Jameson, as hard as it is to believe. He's taken to an indoor parking garage and locked in a room. Changing into Spider-Man he escapes and explores the building. He finds that The Big Man has called a meeting with the city's top bosses. He's about to leave and call the police when one of the thugs spots him (Spidey was too distracted to notice his spider sense) and he has no choice but to fight. The fight scene is classic Ditko. The Enforcers throw everything at Spidey: 55-gallon drums, tires (theres a cool moment where Ox throws a tire at Spidey and Spidey slips right through it), oil slicks, you name it. Spidey fights valiantly but he doesn't make any real headway. Theres just too many of them. He attaches his spider signal to a wall and alerts the police. As the cops roll in Spidey is too worn out to stop the The Big Man from escaping. Spidey heads to the Bugle to intercept him. Jameson walks in the front door of the Bugle's building very stressed out about his failure to pin The Big Man's crimes on Spidey. Foswell interrupts his little breakdown with his latest column. The cops show up as well and Spidey feels a little pity for Jameson. Of course, Jameson isn't actually The Big Man: It's Foswell, who disguised himself with a padded jacket, elevator shoes and a voice modulator. Foswell admits to his crimes and Spidey admonishes himself for not even close to being right while Jameson panics about his credibility taking a plunge. Alone, he curses Spider-Man and admits great envy for the wall crawler's goodness. Spider-Man sets such a great example of heroism that Jameson can never truly respect himself, as all he has ever cared for is making money. At home Peter wonders about Betty. He knows shes in trouble and wishes he could help her. In a Pennsylvania hotel room Better cries about how empty her life is without Peter and how the only man who could help her with her troubles is Spider-Man, who would never have reason to help her. Observations: This issue really has it all. For starters, it's the first time theres a mystery over a villain's identity. Stan and Steve played with the idea last issue, with Spidey unmasking Electro and having no clue who he is (unlike the reader), and here they take it a step further by shielding his true identity from us and introducing a red herring. Of course, it's no real mystery: There are only two suspects and which is more likely, the established supporting character or the unassuming newcomer? But as predictable as the mystery is it's fun to see it through. As a red herring the colorist (possibly on Ditko's suggestion) portrays The Big Man and Jameson as both wearing green suits but an astute reader will notice that The Big Man's suit is double-breasted while Jameson's is single-breasted. Ditko also designed The Big Man's mask (which is a forebear to his later characters like Mr A and The Question) to resemble Jameson. And it's just neat to see Spidey totally goof up the mystery. The Enforcers aren't as dynamic as the other costumed villains but they do their jobs well. They're the first gang Spidey has faced and they manage to get the better of them. As goofy as Fancy Dan and Montana are, they're legitimate threats here and it was clever to have each one embody one of Spidey's own powers. Aunt May is still ill from last issue, which is the first direct continuation between issues (she's been in the hospital for more than a month and yet it's only now that she needs a blood transfusion?). Betty Brant's problems, which were hinted at last issue, are expanded on: She took out a big loan from a loan shark. The reason why remains to be seen but this issue ends on a real cliffhanger, again a first for the series. Lack of communication is the central source of drama in this series and it's coming on stronger here. The stories are getting more emotionally involving. Flash Thompson continues to inch forward to niceness. Last issue he tried to open up to Peter. Here he cares enough to visit Aunt May at the hospital (so strange that Liz and Flash are the closest thing to friends Peter has) and warns him to keep his mouth shut about The Big Man. For a while it's been established that Flash isn't a bad guy, he just doesn't respect men who aren't traditionally masculine and he's never been out to cause any damage (even sideways apologizing for breaking Peter's glasses). Now he's really starting to soften up and show empathy for Peter's problems (even though Aunt May had previously spoken poorly of Flash). Mystery, action and drama, what's not to like? 5/5Other notes: - Jack Kirby provides his first cover to the series (not counting AF#15) and it's a real stinker. Terrible rendition of Spidey and just plain dull. - Peter's power is revealed to come from his radioactive blood rather than a physical mutation as portrayed in the Raimi movies. That explains why he can't shoot webs: The radiation makes his body stronger, lets him cling to walls and gives him spider sense but because it doesn't actually change is morphology. - For some reason Foswell doesn't set off Peter's spider sense, even though it has been used to detect even the general area a villain is living in. - Ditko's original cover for this issue was rejected, which explains the Kirby hackjob. No idea why they would reject it, it's great.  |
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Post by Ozymandias on Feb 16, 2015 8:37:15 GMT -5
This issue really has it all. For starters, it's the first time theres a mystery over a villain's identity. Stan and Steve played with the idea last issue, with Spidey unmasking Electro and having no clue who he is (unlike the reader), and here they take it a step further by shielding his true identity from us and introducing a red herring. The Enforcers aren't as dynamic as the other costumed villains but they do their jobs well. They're the first gang Spidey has faced and they manage to get the better of them. As goofy as Fancy Dan and Montana are, they're legitimate threats here and it was clever to have each one embody one of Spidey's own powers. The mystery villain was a concept they refined over time, culminating with the GG. The Big Man was a nice precursor. I always liked the variety, The Enforcers brought to the table, although it wasn't clear to me, how three "regular" guys, could be any problem to Spidey. |
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Post by crazyoldhermit on Feb 16, 2015 9:35:21 GMT -5
The mystery villain was a concept they refined over time, culminating with the GG. The Big Man was a nice precursor. I always liked the variety, The Enforcers brought to the table, although it wasn't clear to me, how three "regular" guys, could be any problem to Spidey. Was strange is that the mystery villains kept popping up together. The Enforcers return for the Green Goblin's debut and the Crime-Master story, another identity mystery, features both the Goblin and the return of Foswell. The Enforcers are a pretty improbable threat but at the very least the deck is stacked against Spider-Man the two times they meet in this story. |
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Post by Ozymandias on Feb 16, 2015 9:52:20 GMT -5
The mystery villain was a concept they refined over time, culminating with the GG. The Big Man was a nice precursor. Was strange is that the mystery villains kept popping up together. The Enforcers return for the Green Goblin's debut and the Crime-Master story, another identity mystery, features both the Goblin and the return of Foswell. The interesting thing about a mystery is twofold, keeping the intrigue as well as unveiling the secret. Having several such characters in play, allowed them to play with both aspects simultaneously. |
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Post by wildfire2099 on Feb 16, 2015 10:06:00 GMT -5
I've always liked the enforcers... I think Spidey works best with that kind of story... this is definitely one of my favorite early stories!
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