|
Post by Ozymandias on Mar 28, 2015 19:51:47 GMT
The last time Peter quit he was prompted back into action by a pep talk from Aunt May about resilience in the face of opposition. Here he learns, or relearns, a much more valuable and permanent lesson. For the first time he recalls the part he played in Uncle Ben’s death and that lesson on power and responsibility. For the past 50 issues he has been Spider-Man because it’s the right thing to do but only now does he truly associate it with Uncle Ben’s murder. Uncle Ben has been dead for around three years now and it’s not something he spends much time thinking about but now it’s in the forefront. I think this is the moment where Peter finally became the Spider-Man who truly appreciates responsibility. She also has her first thought balloon since #41. That balloon had Gwen realizing Peter was starting to notice her. Since then we’ve been in the dark about what's going on with Gwen and now we know that she is legitimately interested in Peter. And even after all that I still haven’t touched on the villain of the issue. The Kingpin is the most successful villain introduced by Stan and John, largely due to the efforts of Frank Miller, but here he makes for an effective crime boss. - First time Spidey has to take his shoes off to climb walls? - The cover to this issue is one of the most famous (and best) Spidey covers ever but the interior splash of Peter walking away from his thrown-out costume is probably even more famous. The power and responsibility card has been played so many times, that it's easy to forget there was a first one, this one. The other times he had considered to quit, he was convinced to continue, by exterior factors (money needs, speeches), but now he's finally understood the closing words from AF #15. It makes all the more contrast, with what normal life he could carry, as glimpsed in this issue. Now he knows what he's giving up, now he knows that, although the thrill for adventure might not compensate him, he must carry on. Against any personal loss, even if the public perception of Spider-Man is negative, he mustn't stop. Even though it's true, that there were no more thought balloons for her in that time period, I don't think it was hard to assume, what her intentions were at the time. Frank Miller reinvented the character, and Mantlo brought that to the Spider-Man world, even though many consider Stern (himself included) responsible for that last bit. I think so, Ditko showed him swinging in his civvies, but he still had his uniform underneath, so I can't be sure it wasn't just a coincidence, that he left the shoes for last. Romita here, ditches the costume entirely, but pays attention that detail. Indeed it is, used for the cover of the “Spider-Man No More!”, Miles Morales edition, for example.
|
|
|
Post by Ozymandias on Mar 28, 2015 19:57:34 GMT
Even though it's true, that there were no more thought balloons for her in that time period, I don't think it was hard to assume, what her intentions were at the time. Her intentions were clear but the earnestness in her little thought balloon makes it clear that it isn't just oneupmanship with MJ or the old "I must have him because he ignores me!" bit from the Ditko era. Yeah
|
|
|
Post by crazyoldhermit on Mar 28, 2015 20:45:32 GMT
The Amazing Spider-Man #51 (August 1967) “In The Clutches Of… The Kingpin!” Script: Stan Lee Pencils: John Romita Inks: Mickey Demeo Letters: Sam Rosen Cover: John Romita Summary: The Kingpin smashes a miniature model of the city and proclaims the city to be his, as all of the city’s gangsters have agreed to his terms. His first order of business is to silence J. Jonah Jameson, as Jameson has been running exposes on the Kingpin’s operations. He sends a few men to the Bugle and sends the rest out to rob gas stations, a test to see how well they operate. Spidey manages to bust up one of these robberies but one of the leading men, Big Turk, escapes and the police interrupt his attempt to interrogate the rest. At his lair the Kingpin decides to make use of Foswell’s talents. He retrieves him from his cell and talks business. After all, it would be stupid to let a criminal with Foswell’s experience be wasted. Before they can talk turkey Big Turk busts in and demands an explanation for Spider-Man’s reappearance. Kingpin’s right-hand man, Flint, offers to take care of them but Kingpin would rather battle them personally. It turns out Kingpin is not fat but is actually extremely muscular, which is how he was able to gain his position in the first place. Kingpin mops the floor with the mooks and isn’t too alarmed by the news of Spider-Man’s return. The more pressing matter is what to use Foswell for, and it turns out he’ll be the best way to silence Jameson. Jameson is currently freaking out in his office over Foswell’s disappearance during the crime wave (since he’s the crime reporter). Robbie Robertson suggests replacing him with Ned Leeds and Jameson does just that. Peter also shows up and Jameson starts feeding him humble pie but the tables are turned when Peter hands over photos of Spidey’s return, which Jameson is more than happy to buy. With money in his pocket he hops on his bike and tries to think of ideas on how to find the Kingpin. He ends up riding right past the Silver Spoon (or some other teenage hangout) and with it MJ, Gwen and Harry. MJ is bummed that he won’t be able to give her a lift home but Gwen tells her she and Harry will drive her. MJ teases Gwen about being bothered by MJ and Peter being alone together but Harry points out that Gwen is currently dating him. MJ says that it’s just because Peter didn’t ask her first and Harry thinks shes joking so MJ asks Gwen if it’s a joke and she refuses to answer. Peter spots four men heading into a private club and they set off his spider sense. He investigates and it turns out to be Flint and three thugs shaking down the proprietor. Spidey swings in through the window but they hit him with a grenade and escape. As they leave Spidey tags Flint with a tracer. The ceiling starts to cave in and he holds it up while the patrons escape. He heads off to find the tracer. Jameson is working late at the Bugle when four thugs blindfold him and put him in a car at gunpoint. At the hideout the Kingpin tells him to stop reporting on the crime wave. Jameson tells him to stuff it and Kingpin tells Foswell to make Jameson aware of the severity of the situation. Kingpin referred to him by name to ensure he can’t betray him and go back to the Bugle. Foswell advises Jameson to do what he’s told as Flint comes in the office saying they killed Spidey. Flint is an idiot, since Spidey has followed them to the penthouse. He shines his signal in the window and the thugs go looking for him on the balcony. Spidey webs them up but the Kingpin proves to be a greater challenge. While not immune to Spidey’s strength he is formidable enough to endure it and even though Spidey destroys his disintegrator cane he is still knocked out by gas from the Kingpin’s tie pin. Spider-Man is finally defeated and Jameson wishes it hadn’t happened like this as Foswell wonders what will happen next. Observations: After all of last issue’s drama this one is much more straightforward. The Kingpin proves to be an improvement over both the Big Man and the Crime-Master, as he actually has the physical capability to back up his ambitions without relying on the Enforcers or the blackmailing the Green Goblin. His actual plan is questionable. His goal is to run the mob like a C.E.O. would run a business but the means through which he does this are left hazy. He’s a really tough guy with some gadgets so he was able to take control of the entire city? I believe part of this vagueness is due to the C.C.A. forbidding the detailed depiction of crime (“No comics shall explicitly present the unique details and methods of a crime.”) but I also think a lot of it is due to the still shady nature of the Mafia. The syndicate had been exposed in 1957 (The Appalachian Summit referenced last issue) and Joe Valachi spilled the beans on the Mafia in 1963 but this was still a pre-Godfather world and the best point of reference people had for a crime boss was Al Capone smuggling booze. It wasn’t until The Godfather was published in 1969 (almost 18 months from now) that the organization, culture and archetypes of the Mafia really became part of public consciousness. So right now it’s OK for Kingpin to be the somewhat generic thug he is here, who is said to be a smarter crook than he actually appears to be. Surprisingly, Foswell proves to be the more interesting crook this issue. He’s gone back over the edge and is quite firmly a criminal again, although he does show some concern for Jameson’s life. After being back for so long it’s nice that they’re actually doing something major with his character again. Aside from the Kingpin there are few other developments here. MJ mercilessly humiliates poor schmuck Harry and Gwen responds by being bashful rather than directly confronting MJ like the old ice queen version would have. And for one panel we get an unnamed Robbie Robertson at the Bugle. Other than it’s pretty much all action. There are three separate fight scenes: Spidey at the gas station, Spidey at the club and Spidey at the Kingpin’s penthouse. There are eleven pages of Spidey in action, plus another page of the Kingpin brawling with some of his minions. 12 out of 20 spent on action is very high for this series and it was probably a bit of a palate cleanser after the very thoughtful previous issue. Overall it’s nowhere near as grand as the last issue but what is? The Kingpin proves to be a much more formidable foe than either the Big Man or the Crime-Master and there's lots of great Jazzy John action. 4/5Other notes: - First appearance of Joe “Robbie” Robertson, the first black character in the cast. - The spider tracer appears to function off of spider sense now. - Spidey turns five!
|
|
|
Post by crazyoldhermit on Mar 29, 2015 0:08:23 GMT
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
|
|
|
Post by Ozymandias on Mar 29, 2015 9:16:06 GMT
The Kingpin proves to be an improvement over both the Big Man and the Crime-Master, as he actually has the physical capability to back up his ambitions without relying on the Enforcers or the blackmailing the Green Goblin. So right now it’s OK for Kingpin to be the somewhat generic thug he is here, who is said to be a smarter crook than he actually appears to be. MJ mercilessly humiliates poor schmuck Harry 12 out of 20 spent on action is very high for this series and it was probably a bit of a palate cleanser after the very thoughtful previous issue. Does he? I'm of the opinion that Spidey should mop the floor with him, like he did in Back In Black. That's the key to the character and his eventual revival, they said he was smart, but his deeds spoke otherwise, for over a decade. That little thing? That's nothing, wait for ASM #97. It's clear they wanted to compensate, for the last issue's lack of action.
|
|
|
Post by Ozymandias on Mar 29, 2015 12:14:22 GMT
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.
|
|
|
Post by crazyoldhermit on Mar 29, 2015 17:09:21 GMT
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.
|
|
|
Post by Ozymandias on Mar 29, 2015 18:16:46 GMT
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.
|
|
|
Post by crazyoldhermit on Mar 30, 2015 6:33:24 GMT
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 Ozymandias on Mar 30, 2015 7:48:38 GMT
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. 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.
|
|
|
Post by Ozymandias on Mar 30, 2015 8:03:22 GMT
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. As I said a few posts ago, it's not a commitment issue. Those who knew who they wanted to be with, were committed. Flash may be the dumbest member of the group, but he had no doubts about his choices and he stuck to them, old fashioned style.
|
|
|
Post by Ozymandias on Jun 13, 2015 9:42:12 GMT
If not for that thing with Otto's gang talking about the Cat, as if they worked for him, I would've have rated it higher, too. Thats definitely of the more notable miscommunications between Stan and Steve. Stan obviously had no idea that the Master Planner existed and assumed the thugs worked for the Cat. That was a sign, not just of a lack of communication, but of involvement too. There was a reference, in the previous issue, about both the cat burglar as well as the "robbery of scientific equipment". Those were surely Ditko's words, but Stan didn't establish the connection or didn't care to ask for a clarification. He simply saw the pages he had in front of him, and added dialogs accordingly.
|
|