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Post by crazyoldhermit on Mar 10, 2015 15:04:16 GMT
The Amazing Spider-Man #17 (October 1964) "The Return of the Green Goblin!" Script: Stan Lee Art: Steve Ditko Letters: Sam Rosen Cover: Steve Ditko Summary: In chem class Peter wonders about the Green Goblin and why he's remained silent for the last few months. Way to tempt fate, because right now the Goblin is practicing with his new tools and weapons on a Spider-Man dummy. With a redesigned glider, pumpkin bombs, ghosts, bats, moons and frogs (??) he's ready to take on Spidey. He changes into a brown suit and hat and heads out into the city. After class Flash tells his friends the big news: He's starting a Spider-Man fan club. Liz wants Peter to join but Flash forbids it. Peter doesn't want to go anyway. What follows is the best Flash Thompson line yet: "Forget about Puny Parker! I've got big plans for my Spider-Man fan club!" If that doesn't sum the whole thing up, nothing does. And of course, Liz starts scheming up a way to get Peter into the club. On his way home Peter sees a crowd gathered. They're watching what appears to be a gang of costumed criminals escaping into a hovercraft. Spidey leaps up to save the day but all he does is scare some actors and find a new enemy in a very angry director: It's a film shoot. News of Spidey's screw-up makes its way to Jameson's office. He's the happiest he's been in months, since Spidey is now a laughing stock. Peter comes to walk Betty home but they're ambushed by Liz Allan, who is buying a paper from a newsie on the street. Peter tries to run off but Liz pushes the paper in Peter's face (insulting Betty's weight as she does so): The first meeting of the Forest Hills chapter of the Spider-Man Fan Club will be held at the Avenue Dinner Club and will feature a personal appearance by Spidey. Liz mentions that her father, a longtime Spidey supporter, owns the club and paid for the ad. Flash praises Spidey as the greatest guy in the world. He performed for charity last month and he would never let his fans down. As much as Peter dislikes Flash, he's touched by the guy's passion and decides to make his day. Liz and Betty start sniping at each other but Peter is more concerned by his tingling spider-sense. He doesn't know it but the Green Goblin just walked by reading the same paper. Liz tells Flash quite firmly that if Peter isn't invited Flash won't get to hold his meeting at her father's club. Betty finally has enough and gets walked home. She's upset that Peter didn't invite her to the meeting with him, even though he obviously can't. As soon as she's inside he changes into his costume and goes looking for whoever set off his spider sense. What he finds instead is the Human Torch capturing an armed criminal. An older man compliments Torch on his marksmanship with his flame and soon a crowd of autograph seekers forms. Johnny makes one out to Pete, assuming he's too shy to ask. For a laugh he offers to trade with a kid's, saying it's a Spider-Man autograph. The kid is insulted he would even ask. The next day Jonah is upset about a pro-Spider-Man ad in his paper. He decides that he, Betty and Peter will go to the club to try and spin it someway against Spider-Man. Betty decides to wait until Peter is out to call home (out where?). At home Peter faces a bigger problem: Aunt May has forced him into another date with Mary Jane. Peter tries to use the Fan Club as an excuse but no go, MJ loves Spidey. May gets a call saying MJ has a cold and can't make it. While she considers going out anyway Peter says she shouldn't, not when theres a risk of her getting worse. This endears Peter to all involved and he flees before he can land himself more trouble. At the club the meeting is underway. Jameson and Betty are there, as is Johnny Storm and Doris. Johnny promises to just be a spectator and not show-off. Spidey announces his presence with the spider signal and swings down to the stage. His webline is cut by an exploding frog. He's able to land and the audience thinks it's part of the art but Johnny can tell it was a genuine attack. He's proved correct as the Green Goblin flies in and lays on the assault. Finger sparks, smoke-spewing bats and pumpkin bombs galore. As Spidey dodges the attacks he overhears Liz wonder why Peter is never around when Spidey is near them. Now he has to figure out a way to void her suspicions but the first order of business is finishing the Goblin. He lines up a good shot with his web but Johnny, having seen gunmen in the rafters, flames on (better term?) and flies right up into Spidey's line of fire. Flash wants the Torch to leave but his friends are happy to have Torch join the show (they think the whole fight is an act). Taking advantage of the distraction Spidey quickly puts his civvies on and meets with Liz and Flash. Liz tousles his hair, an act witnessed by Betty who privately swears to never trust Peter again. Horrified, Peter leaves to rejoin the battle. Gobby throws a ghost at Torch and it creates a cloud around him that sucks up oxygen. He brings his hand up to nova intensity to suck away the cloud but gets stuck in the exhaust from Gobby's glider. Spidey joins the fray as the kids start to realize it's a real fight. He gets Gobby on the ropes but hears a club employee taking a phone call: Peter Parker's aunt has suffered another heart attack. Spidey runs out of the building to the horror and disgust of everyone present (except for Jameson, who is over the moon). Gobby disorients Torch with a stun bomb and escapes. Peter arrives at the hospital and finds Aunt May in critical condition. Across town Jameson run an extra exposing Spider-Man as a coward. At home Peter takes sum of his current situation: Betty believes he has betrayed her with Liz, Spidey's good publicity is gone, the Green Goblin remains free and Aunt May is hospitalized. He wonders why things never work out for him, why he always seems to hurt people and if a life of loneliness and misery is the price he will always pay for being Spider-Man. Observations: After a ho-hum issue the Stan and Steve are back in full force. The Goblin returns more fierce than ever. While last time he barely engaged Spidey this time they really go at it and Gobby pulls out all the stops. Gobby proves himself to be as formidable as any member of the Sinister Six and so far the only villain to go twice undefeated. The ever present danger created by his mystery is excellently highlighted by the moment where he and Peter cross paths. The Goblin is out there, somewhere. Of course, it's not the Goblin that lands the biggest blow. Spidey turns tail and runs. He just runs right out the door. It'd be funny if it wasn't so sad. This is Aunt May's second medical crisis within a year and between this and her apparent senility it seems unlikely that she would last until next year, let alone another 700 issues and counting. Peter often neglects his personal life in favor of his superhero duties but here he does the opposite and suffers similarly. Spidey is a coward. All of that goodwill, the charity, all it is undone. Aside from that, we've got Peter/Betty drama that isn't forced. Once again Peter has to put off a date with Betty because of non-urgent duty as Spider-Man but thats just the beginning of his problems. He's forced to make an appearance as Peter Parker which exposes himself as a liar to Betty. What good excuse does he have for attending the fan club and getting sociable with Liz? Nothing that he can actually tell her. Peter really stepped in it this time. Spider-Man's relationship with the Human Torch is also spotlighted, first in the difference in public perception and later with Johnny finally admitting that aside from their rivalry Johnny really does like Spidey. Johnny really is the antithesis to Spidey. While Spidey is creepy and mysterious Johnny is honest and All-American with no mask, no phony identities and the trust that comes with belonging to an organization of good standing. Spidey is a lone wolf and even when the public does get on his side it's as a counter culture icon. Old people hate Spider-Man but they're approving of Johnny because he's the wholesome boy next door. All of this makes the issue end on the most dour note yet. Every possible problem Spidey could face is happening and it's all weighing down on him. The depression and angst common in teenagers really comes through here. Sometimes it just sucks being 17, especially when you're a superhero. 5/5Other notes: - Doug Moench has a letter printed, praising Steve Ditko as the best artist Marvel has. I have to agree with him.
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Post by Ozymandias on Mar 10, 2015 19:15:26 GMT
The Goblin returns more fierce than ever. While last time he barely engaged Spidey this time they really go at it and Gobby pulls out all the stops. Peter often neglects his personal life in favor of his superhero duties but here he does the opposite and suffers similarly. Aside from that, we've got Peter/Betty drama that isn't forced. Once again Peter has to put off a date with Betty because of non-urgent duty as Spider-Man but thats just the beginning of his problems. He's forced to make an appearance as Peter Parker which exposes himself as a liar to Betty. What good excuse does he have for attending the fan club and getting sociable with Liz? Nothing that he can actually tell her. Peter really stepped in it this time. There's a big difference between the GG we see in this story, and the one we knew. This isn't a playful, stands-behind-the-barrier enemy. He doesn't use others to do the work for him, he engages Spider-Man directly and doesn't even hesitate to also confront the Human Torch, simultaneously. I know they took turns to go at the GG, but he couldn't possibly anticipate that development. This is the first iteration of the "Spider-Man coward" theme, which will be repeated trough the years. Also the best one. The uniqueness of the situation, isn't about it being forced or not, it's about his lie being exposed. It was a really convoluted scene, with him going from civilian to Spidey, back and forth, and I loved every minute of it. Also, the last panels on page 21, with him changing on the go, were an excellent expression of that duality.
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Post by crazyoldhermit on Mar 10, 2015 22:23:32 GMT
The Amazing Spider-Man #18 (November 1964) "The End of Spider-Man" Script: Stan Lee (author of "The Fantastic Four") Art: Steve Ditko (illustrator of "Dr Strange") Letters: Sam Rosen (letterer of.... "Patsy Walker"?!!) Cover: Steve Ditko Summary: This issue opens with J Jonah Jameson gleefully exclaiming that his tirades against Spider-Man have finally been vindicated. A Daily Bugle headline reads "Spider-Man A Coward! Flees in Terror!" The Green Goblin celebrates his triumph over Spider-Man while Ock (still in prison), Kraven and Vulture (both of whom are somehow free) are jealous. Meanwhile, the superhero fraternity passes judgement. Johnny is bummed out by Spidey being a coward while The Avengers consider him a shame to their profession and Daredevil simply doesn't understand how he could have misjudged him. The people on the street don't understand why Spidey ran either and decide that Jameson was right all along. And on TV Jameson reminds everybody that he is the first who called Spidey out as a fraud and that the hero hasn't been seen for weeks. So where has Spider-Man been? He's been doting over Aunt May. She's still recovering at home and Peter is caring for her day and night, save for when he's at school in which case Anna Watson watches her. At school he stresses about the growing costs of May's medical expenses. He hasn't been able to earn any money because he's spent all of his time looking after his aunt. Flash Thompson still defends Spider-Man, even threatening to beat up his friend for disparaging the wallcrawler. Liz continues to put her moves on Peter but he still prefers Betty. He gets an idea on how to make some quick money: Trading cards! He goes to a trading card company and offers to model for them. The manager doesn't give him the time of day. Spidey is washed up, nobody cares. On his way home he sees a gang preparing to rob a jewelry store. But thinking of what would happen to Aunt May if he got killed, he leaves and calls the police on a payphone. When Peter returns home he sees the Doctor giving Aunt May a checkup. She still needs her expensive medicine. Peter calls Betty to try and patch things up but she hangs up on him. Jameson asks her where Peter has been and she tells him about Aunt May. Jameson decides to help out by sending a get-well card (in an unsealed envelope - it's a penny cheaper that way!). Jameson's staff are disgusted by his cheeriness, as it makes him out to be an even bigger hypocrite and nuisance. Peter tries to call Betty at home but she doesn't answer. She doesn't want to open up to him and must deny her feelings to avoid getting hurt. Peter wonders how she would react if she knew that he had saved her three times. The next day he tries to meet Betty outside the Bugle but she runs from him. Jameson spots him and tells him that he shouldn't sell him anymore pictures of Spider-Man. Desperate for cash, he has another brilliant idea: Sell the web fluid! He demonstrates it for a chemical company and they're impressed by its strength but the quick evaporation makes it worthless. As he swings away he bumps into the Sandman. Wanting to avoid injury or death for Aunt May's sake Spidey runs and further shames himself in the public eye. He turns around a corner and quickly changes. As Sandman passes by he asks Peter if he saw Spidey. At home he finds that Aunt May had been left alone by Mrs Watson, who had to return home to make dinner for her husband (gotta love the 60s). Peter realizes that Aunt May could have had a heart attack while all alone and no one would have saved her. As time goes on Peter becomes more and more frustated with his sinking reputation. Johnny Storm is sick of it too. He knows theres a reason for Spidey's behaviour and he writes a message in the sky asking for a meeting. But Spidey never shows because he's needed at home and even the Human Torch begins to doubt his rival. The one person who doesn't doubt Spidey is Flash. Flash is now completely discredited at school but isn't letting up the fight. He has a plan to prove Spidey is a hero. That night Liz comes to Peter's house in tears. Flash is going to put on his old Spidey costume and walk through the streets looking for trouble. He knows that Spidey will rescue him once he gets in trouble. Sure enough, he stumbles across a gang of car thieves. He tries to bluff his way into capturing them but they call it and kick the crap out of him. Peter rushes in to save him (no time to change into his costume) but a cop gets to him first. The next day Peter tries to talk to Flash at school but Flash (sporting a big black eye) isn't interested in hearing anyone's advice. As he walks home Peter spots Betty walking out of a movie theatre with another guy. Peter realizes he's lost her and it's because of Spider-Man. He's hit the breaking point. At home he takes off his costume, stuffs it in a bag and throws it in the garbage. The next morning Peter finds Aunt May up and about. She's tired of spending all day polishing a wheelchair with her butt. Peter doesn't think it's a good idea but she tells him he's full of fudge. She isn't going to let a silly thing like suffering two heart attacks at the age of eighty-zillion keep her from making wheatcakes. The doctor arrives and checks her over. She's recovered quite a bit and no longer needs her expensive medicine. As Peter reads another Bugle article about Spidey and realizes he's been a pushover. He swears to prove Jameson and everybody else wrong, including himself. He was blessed with his powers and it is his duty to use them without hesitation. He pulls his costume out of the trash, puts it on and becomes the man he was born to be: Spider-Man. Observations: Wow! It doesn't get much better than this. What stands out the most is that Spider-Man barely appears on five pages. This mag is all Peter and all drama and I love it. Very densely plotted and a plot based almost entirely on the emotions of a severely bummed out 17 year old. Peter may be a superhero but he also experiences something a lot of people go through, especially at that age. He's tired of his responsibility and the havoc it wreaks on his life and wants to give it up. And he does, if only for two pages. Some could call the immediate reversal a cop-out or ineffective. Not me. Peter tries and tries to reconcile Spider-Man with his personal life and fails throughout the entire issue. We sense that he is going to quit even before he does. He quits at the tail end of the issue and it feels like theres no way he's backing out. The story is almost over. But at the very last minute he gets reinspired by what was so far been nothing but a millstone. In the end a major weight is lifted. Aunt has recovered, which means two things: 1) Peter no longer has to watch her like a hawk and 2) Peter no longer has to deal with the financial drain of her care. But while he has that weight lifted he gets another dumped on him: Betty has had enough of Peter's crap and has started seeing someone else. The informality and lack of committment shown by these wacky 60s kids still confuses me and I still can't tell if it was a Lee/Ditko quirk or how things actually played out (Animal House led me to believe the former, with extra medical gloves included). But nevermind. The point is Betty has moved on and found happiness with a normal guy and thats a huge blow to him, even more than Jameson's smear campaign. For once Flash comes off in a completely positive light. He refuses to believe Spidey is a coward, doesn't bully Peter (although he threatens to cream some kid who was talking trash about Spidey) and he proves himself to be Midtown High's biggest idiot by dressing up as Spidey... Again. As if that worked so well the last time. But this time he did it out of desperation for Spidey to prove himself a hero. And when Spidey doesn't pull through he still sticks up for him. Whattaguy. And that cover is one of Ditko's best. Overall it's a story you just can't mess with. In fact, I'd even call it groundbreaking. A long underwear story without the long underwear? In 1964? Unheard of. And it's still just as powerful today. 5/5Other notes: - First on-screen appearance of Anna Watson (missnamed as Anna Watkins) and although he gets no name, first appearance of Ned Leeds as well - "Why doesn't Spider-Man sell his web fluid" is a question that gets asked a lot, especially from proponents of the organic webbing. There really is no easy answer. Here he can't sell it because it isn't permanent. But as the success of Post-It notes has shown, there are uses for temporary adhesives and I would think at the very least law enforcement would find uses for it. - Theres no word of how Sandman was able to escape his incarceration after the Annual but it's not a stretch, since the last time we saw him he was in an ordinary jail cell. Sandman is the third threepeat villain, which I guess makes sense since the two villains that were introduced just ahead of him were the first two threepeaters. - Aunt May says she feels like a "young" 60something which ages her in the 70s or possibly in her 80s or 90s. Even if she was in her 60s she would still have been a Victorian baby but now it's not a stretch for her to remember the Grant presidency.
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Post by Ozymandias on Mar 11, 2015 7:49:17 GMT
It doesn't get much better than this. […] Some could call the immediate reversal a cop-out or ineffective. Not me. Peter tries and tries to reconcile Spider-Man with his personal life and fails throughout the entire issue. We sense that he is going to quit even before he does. He quits at the tail end of the issue and it feels like theres no way he's backing out. The informality and lack of commitment shown by these wacky 60s kids still confuses […] - "Why doesn't Spider-Man sell his web fluid" is a question that gets asked a lot, especially from proponents of the organic webbing. There really is no easy answer. Here he can't sell it because it isn't permanent. But as the success of Post-It notes has shown, there are uses for temporary adhesives and I would think at the very least law enforcement would find uses for it. No argument there, for the last three issues, the creative team has reached their sweet spot. We'll still get several more issues, just as good as this one, before they start to crack at the seams. […] Well spotted, that Ditko is able to convey that feeling in so few pages, speaks volumes about the energy he could express with just a wrinkled paper bag. And we still haven't got to the Betty and Veronica phase. For a glimpse of how that would work out, check the Spider-Man - House Of M mini.
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Post by crazyoldhermit on Mar 11, 2015 14:10:50 GMT
The Amazing Spider-Man #19 (December 1964) "Spidey Strikes Back" Script: Stan Lee (Spidey's Godfather) Art: Steve Ditko (Spidey's big daddy) Letters: Sam Rosen (Spidey's second cousin on his uncle's side) Cover: Steve Ditko Summary: A group of escaping bank robbers find the spider signal waiting for them. To the surprise of everyone, Spidey is back! He leaps down and beats them senseless. Spidey leaves to attend to other business and doesn't notice one of the crooks slipping away in the crowd to warn their boss. J Jonah Jameson is preparing to give a lecture on Spidey's cowardice. But just before he starts his speech his assistant ells him that Spider-Man has returned and busted up a bank robbery. The awful smile slips from Jonah's face and he runs out of the lecture hall. The Human Torch is returning home from his adventure in Strange Tales #127. He's exhausted from the battle and wants to get home quickly. He's pulled out of the sky by a lasso. It's the Enforcers! Fancy Dan quickly hits him with some chemical foam and Sandman smothers him completely. They lock him in an airtight glass tube with a limited supply of oxygen. The next morning a much healthier Aunt May fixes some pancakes for a much happier Peter Parker. At school Flash is popular again, his faith in Spider-Man having been vindicated. Liz is still mad at him though because he had the gall to be mad at her last issue. Peter tries to reassure him but Flash tells him to mind his own business. Peter really hates that his biggest fan is such an idiot. After school he spots Fancy Dan walking down the sidewalk. He changes and follows him into a building. He's detected by the Enforcers and their crew. Spidey fights them but the battle is interrupted by the police, which gives the Enforcers an opportunity to slip away undetected. At the Bugle Peter finds Betty chatting with Ned Leeds. Ned is a Bugle reporter. Peter is friendly to Ned, who heads back to his desk. Betty explains that she has been seeing Ned quite a bit but Peter is understanding. Ned is such a nice guy she has no reason not to see him. He excuses himself to talk to Jameson, leaving Betty worrying that his new confidence is caused by him seeing someone else. Jameson is back at work crankier than ever (to the relief of his staff) and he slams his door in Peter's face. At his lair Sandman decides it is time to get rid of Spider-Man permanently. They'll set a trap and use the Human Torch as bait. The Torch is hanging in there but is only fed enough oxygen to breathe. If he uses his flame he will suffocate himself. Spidey pays a quick mocking visit to Jameson before grabbing Louie the stool pigeon (who was present at the bank robbery). Louie tells him that they're in an old warehouse and they've taken the Torch as a prisoner. As he swings over to the warehouse he thinks Louie gave up too easily and suspects they've set a trap for him. The warehouse is heavily guarded with lookouts. He sneaks above, below and around all of them and gets inside. He sets up his automatic camera and goes to save the Torch but Sandman has been hiding on top of the tube. The Enforcers and their gang come and join the fight and soon Spidey is starting to feel a little overwelmed. He manages to break Johnny out of his cage and they fight together. The Enforcers are quickly finished but Sandman gets away. Johnny asks Spidey why he ran from the Goblin but Spidey gives no answer. Two cops are able to take down the Sandman (he tries to use his powers but he's too exhausted) and Spidey leaves so Johnny can take the credit. Peter shows up at Jameson's office with photos of the fight. Jonah is thrilled (the first good news he's gotten in the last two days) and he buys them all. Peter asks Betty out for a soda but she's got a date with Ned. They set a date for tomorrow night. Peter greets Ned on his way out of the building and Betty is concerned that Peter didn't show any jealousy. Has she lost him? The people on the street read the news of Spidey's return and believe Jameson rigged the whole thing for publicity. The FF grill Johnny on why Spidey was so cowardly but he has no answer. As Peter leaves school he thinks about how great it is to have a worry-free life. He doesn't notice a mysterious man following him home. The man calls a shadowy figure who tells him to maintain security throughout the night. Observations: Spidey is back and it is good. No, this issue isn't as deep as last issue but it doesn't need to be. As the finale to the first three-part story it is excellent. The action is very welcome after the talky last issue and it's nice to see Spidey and Matchhead get to resolve unfinished business and have a fight to completion. Peter's new outlook is a nice change. He's no longer the crybaby who swears he'll make Flash Thompson pay. He is a confident and self-assured young man. Last issue he was devastated by Betty seeing Ned. This issue he is polite to Ned, supportive of Betty (no matter what she chooses) and willing to rebuild his relationship. Betty comes off as rather silly this issue. Does she want Peter? Does she not want Peter? Make up your mind! I guess this sort of goofy indecision can be expected of a 17 year old. The relationship between Betty and Peter is definitely starting to get stale though. At this point theres no real reason for them to stay together but again, this is something that is realistic. The writing is on the wall but neither one can see it. Sandman remains a fun villain but by this point the Enforcers have worn out their welcome. After being a legitimate menace in their first appearance they've now been reduced to being lackeys for other villains and they just don't hold up. They're only marginally more threatening than the generic thugs they work with and in this appearance they actually fear Spidey. Oh, and the best scene in the issue, and one of the best moments in the entire run, is Jonah getting the "bad" news about Spidey. Overall it's a triumphant comeback marred only slightly by the inclusion of The Enforcers and a perfect ending to this trilogy. 5/5Other notes: - First (unnamed) appearance of Mac Gargan - Spidey mentions that Sandman humiliated him last month. The story continues to progress in real time but it doesn't make much sense, since it means Spidey waited a month to make his return. It makes more sense for there to be a month break between the last two issues and this one to immediately follow it. - How old is Ned Leeds? Betty is a high school dropout. Is Need a dropout too? If he isn't, it's pretty weird for a grown man with a career to be chasing a 17 year old. - Stan seemed to agree with my assessment of The Enforcers, as they don't return to face Spider-Man for another 11 years. Sandman takes a sabbatical as well, becoming a prolific Fantastic Four villain with a smattering of Hulk appearances. He doesn't face Spidey again until 1972 and won't become a full-time Spidey villain until the 1980s. - The wacky credits this issue are strange because they acknowledge that Ditko is the creative force behind Spider-Man. They're also kind of prophetic, as when the big daddy "dies" it's up to the godfather to manage the series.
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Post by Ozymandias on Mar 11, 2015 14:38:44 GMT
Oh, and the best scene in the issue, and one of the best moments in the entire run, is Jonah getting the "bad" news about Spidey. Those three panels are a very good example of Ditko's ability to capture emotions, via his obvious knowledge of the muscles beneath the skin of the face. In essence, the ease with which he draw facial expressions. The plot begs some questions, though: - How where they exactly planning on "finishing off" crime fighters? It doesn't look like they wanted them dead.
- Where would some lowlives like them, get their hands on high-tech capable of holding the torch?
- Spider-Man stumbles on Fancy Dan by chance, and only learns about the Human Torch while searching for The Enforcers, what was that about using Johny as bait?
- And more importantly, once they have Spidey in the house, why don't they threaten his friend as leverage against him?
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Post by crazyoldhermit on Mar 11, 2015 23:42:34 GMT
Amazing Spider-Man #20 (January 1965) "The Coming Of The Scorpion!" or "Spidey Battles Scorpey!" Art: Steve Ditko Script: STAN LEELetters: Sam Rosen Cover: Steve Ditko Summary: The day after the last issue Peter is still being stalked by a mystery man. Peter detects him with his spider sense and fears that someone has figured out his identity. When the stalker leaves his post Spider-Man follows him to a payphone (remember those?). He can't hear who he's talking to and now has to sneak past him to get in his own house. He flies a bat made of webbing at the stalker and slips inside. The next morning he heads to the Bugle to visit Betty and the stalker takes the opportunity to report to his boss. In his office Jameson is going over proofs and finds an article about a scientist being able to mutate animals. He tosses it aside and asks why he can't get news about a scientist figuring out a way to beat Spider-Man. Realiziation clicks in and he finds the article once more. The scientist is Farley Stillwell and Jameson knows exactly the man to help him. Said man knocks on Jameson's back door: It's the stalker, Mac Gargan. Jameson has him following Peter to find out how he takes his photos but now he has a new job, a potentially dangerous job... Outside the office Peter is chatting with Betty and Ned. Ned is going to Europe to cover disarmament conferences and will be gone for six months. Peter congratulates him and is quite happy that Ned is out of the picture for some time. Jameson and Gargan leave the office and Peter wonders why Jameson was tailing him. He'd like to follow them but Ned has invited Peter to come with Betty to see him off (which Peter interprets as a sign that Ned and Betty aren't that close). Dr Stillwell operates out of a kooky high tech lab that could only come out of the sixties, with fish on bird perches and swimming rats. Stillwell explains that he hopes his work will one day help farmers and botanists, and that Jameson's publicity could help his cause. Jameson tells him that he'll pay him $10,000 ($75,000 in today's moday) for a special project. He wants Stillwell to perform his experiments, to make Gargan (who also gets ten large) stronger than Spider-Man. Stillwell is hesitant because the process could have unforseen and dangerous side-effects but he needs the funding for his work. He shaves Gargan's head, feeds him a serum and doses him with radiation. He also builds a mechanical scorpion tail, which Jameson complements with a costume of his own design. Suited up, Gargan tries out his new powers. He doesn't quite have the hang of it yet but he is already quite formidable, able to easily crush a granite block in his hands. After seeing Ned off at JFK and hearing he's going to be gone for six months, Peter tells Betty that he can't expect her to not date other guys (why not?) but he wishes she wouldn't. Betty cuts him off and tells him she's not in the mood to talk about it. He sees her home and changes into Spidey to visit Jameson about Gargan. Jameson is happy to see him and invites him inside. Spidey doesn't need spider-sense to realize it's a trap and he leaves. Unfortunately, the Scorpion jumps on him and they brawl on a rooftop. Scorpion is stronger than Spidey and can every tear his webs up like they were nothing. In his lab Stillwell has run some tests and has discovered that the Scorpion's strength will continue to increase but as it does his brain will deteriorate and he will lose all sense of morality. Realizing his error in judgment he mixes up a serum and heads up to stop him. Jameson watches with glee as Scorpion tosses Spidey through an empty water tower. Having thoroughly thrashed Spider-Man, Scorpion realizes he cuold take over the entire city. Jameson orders him to bring Spider-Man to him to be unmasked but Scorpion refuses. He leaves Jameson and robs an armored car and a jewelry store. Jameson tries to get ahold of Stillwell but theres no answer, while Spidey regains consciousness and goes looking for the Scorpion. But Stillwell has caught up with him first and tries to give him the antidote. Scorpion refuses and climbs up a building. Stillwell foolishly tries to follow but falls from the third floor. As he falls he throws the serum at Scorpion but misses and ultimately dies a failure. As Scorpion reaches the top of the building Spidey is waiting for him. But the Scorpion's metamorphasis is now complete. He's reached his peak strength and his brain has become something more savage with no regard for good and evil. Meanwhile, Jameson hears that Stillwell is dead, that Scorpion has gone on a crime spree and that he has created a greater menace than Spidey ever was. Speaking of Spidey, he gets thrashed again and Scorpion leaves him among the rubble. He decides to kill Jameson, as Jameson is the only man still alive who knows his identity. Minutes later Spidey hears Betty cry for help from the Bugle. The Scorpion has come in through Jameson's office window. Jonah pushes her out of the room to call the police (Scorpion interprets it as heroics while Jameson just wants to make sure Betty doesn't find out about his connection to the monster). Scorpey is about to kill Jameson when Spidey comes back yet again. He now knows he can't beat Scorpion in a straight fight so he sprays web fluid at his feet, sticking him to the ground. Then he tears the tail off and pounds the villain into unconsciousness. Spidey leaves Jameson to appreciate the irony of being saved by the person he was trying to destroy. Seeing his bruised and cut face, Peter crumples up his clothing to make it seem like he was injured playing football. He bumps into Flash and is immediately teased for being beat up. Peter loses his temper and tries to fight him but Flash refuses, preferring to wait until Peter doesn't have an alibi for losing. At home Aunt May admonishes Peter for playing dangerous games. He calls Betty who tells him that Jameson saved her from the Scorpion. The Bugle reports that Jameson beat the Scorpion singlehandedly, with Spider-Man only having minor involvement at the end. In his office Jameson now knows that anyone with superheros is liable to turn evil and is more convinced than ever that Spider-Man is a mance. He swears to fight him, expose him and destroy him. At home Peter repairs his costume and realizes that he never did find out why Jameson had him followed. A page short, the issue ends with a simple pinup of Peter Parker and Spider-Man. Observations: After five issues and an Annual of returning villains, crossovers and personal drama Stan and Steve finally deliver a follow-up to Kraven with The Scorpion, Spider-Man's tenth iconic villain (after Chameleon, Vulture, Ock, Sandman, Lizard, Electro, Mysterio, Green Goblin and Kraven). This issue marks a bit of a turning point. We have officially crossed the halfway point of the run (I count AF#15 and ASM #8 as half issues) and the Scorpion turns out to be the last major villain introduced by Ditko. The remaining 19 stories will deal with returning villains or less than spectacular new villains (no, I do not believe Molten Man to be a major villain) which makes the second half of the run a little less exciting on that front. But we're also looking ahead into the pinnacle of that classic Ditko melodrama, the sort that dominated the previous three issues and would continue to dominate the run. So with that in mind this issue serves as a little send-off to the style and tone of the first half, giving us another densely plotted villain introduction. I have to admit, the Scorpion has always been one of my favorites. I can't say why. Growing up in the 90s Scorpion was not the only villain who was a dark mirror of Spider-Man. In the 90s we had Venom to serve that role and Scorpion was the green guy with the big tail. He was not the most beloved villain by any means but for some reason I really dug him. The idea of a villain being manufactured to fight Spidey was really cool and the logic of "a scorpion is stronger than a spider so The Scorpion is stronger than Spider-Man" appealed to me. It was much more interesting than a black alien that shot webs. Venom was too literal. Scorpion was just different enough to be interesting, lacking web powers but making up for it with an extra appendage and brute strength. The point is, I like this villain. It's just a cool story. And in the context of the run so far it works quite well. In the last dozen issues Jameson has been repeatedly humiliated: His theory about Spider-Man being Electro was proven wrong, his theory about Spider-Man being the Big Man was proven wrong, his decision to back Mysterio in his battle against Spider-Man failed and his recent triumph in the press was undone. Over the course of the last year Jameson's reputation has plummeted and his own jealousy of Spider-Man is making him go nuts. He opposed Kraven hunting Spider-Man like a dog but now his mania is at the point where he creates his own costumed menace! A fanatic is one who redoubles his efforts while forgeting his goals and that certainly applies to Jameson. Even at the end he uses twisted logic to turn his own failure into reassurance of the evil of Spider-Man. The story has a Frankenstein feel to it, as well as a bit of typical mad science parable. Dr Stillwell sells his soul to fund his research and his remorse eventually costs him his life. Jameson rushes ahead into a foolish idea without thinking it through and his creature eventually turns on him. A forgotten plot point also shows up. In the beginning Peter sold his photos to Jameson under the condition that he wouldn't ask how he got them. He didn't even want photo credit. As Peter turned in more work with Jameson, many times off panel, the idea faded away and Peter was just a normal photographer with a knack for getting good pictures. Now we have a touch of classic Marvel realism, as Jameson actually tries to figure it out! He gives up but it's neat to see it come back. The Liz/Peter situation has been put on ice for a few issues now and Flash is back to his typical bullying ways, making for another bit of throwback to older times. The scenes with Betty contain new developments though. After an issue of full confidence Peter admits his jealousy and wants Betty to go steady with him . Ned being put out of the picture immediately after being introduced is a little odd but Ned doesn't need a physical presence. What matters is that he represents another option for Betty, a life with a normal man rather than a superhero. Even when he's gone that element is still there as Betty is clearly confused about her own feelings. Overall it's a transitional issue, a farewell to the more typical superhero stories of past issues and a really fun story in its own right. 4/5Other notes: - The Scorpion's attack takes place on a Saturday, which means ASM #19 took place on Wednesday and Thursday. - My Google-fu is unable to uncover exactly what conferences Ned is attending. There were anti-nuclear rallies in Europe at the time. Is that what he meant? - JFK Airport is less than an hour from the Bugle in Manhattan. It doesn't really narrow down the exact location of Bugle but it does highlight how awful it is to drive through the city. - In today's money Jameson paid Stillwell and Gargan $75,000 each. - This seems like a good time to note that the science hero element of the character is pretty much gone. He last used his science know-how to beat Electro in the annual. In the old days he would have created the serum to cure Scorpion himself, as he did with the Lizard. Here he's reduced to simply clobbering the villain.
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Post by Ozymandias on Mar 12, 2015 9:55:09 GMT
I have to admit, the Scorpion has always been one of my favorites. […] In the last dozen issues Jameson has been repeatedly humiliated: His theory about Spider-Man being Electro was proven wrong, his theory about Spider-Man being the Big Man was proven wrong, his decision to back Mysterio in his battle against Spider-Man failed and his recent triumph in the press was undone. Over the course of the last year Jameson's reputation has plummeted and his own jealousy of Spider-Man is making him go nuts. He opposed Kraven hunting Spider-Man like a dog but now his mania is at the point where he creates his own costumed menace! A fanatic is one who redoubles his efforts while forgeting his goals and that certainly applies to Jameson. Even at the end he uses twisted logic to turn his own failure into reassurance of the evil of Spider-Man. A forgotten plot point also shows up. In the beginning Peter sold his photos to Jameson under the condition that he wouldn't ask how he got them. He didn't even want photo credit. As Peter turned in more work with Jameson, many times off panel, the idea faded away and Peter was just a normal photographer with a knack for getting good pictures. Now we have a touch of classic Marvel realism, as Jameson actually tries to figure it out! He gives up but it's neat to see it come back. - This seems like a good time to note that the science hero element of the character is pretty much gone. He last used his science know-how to beat Electro in the annual. In the old days he would have created the serum to cure Scorpion himself, as he did with the Lizard. Here he's reduced to simply clobbering the villain. Just the opposite for me, I never dug this character. When a thread about the best stories featuring Spider-Man villains caught my attention, at CBR, I found myself empty for The Scorpion. If I scratch at the bottom of the barrel, I could come up with a couple of decent comics, namely Ms Marvel #1-2, but that's it. The driving force in this issue, is clearly JJJ. It's at this point that he really cracks, morally wise, and enters a territory populated by criminals. In the end, this would lead to his resignation in ASM #251 (Roger Stern yet again). Indeed, the whole fighting sequence comes off as a bar brawl, and Spidey only wins by punching where it hurts the most.
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Post by crazyoldhermit on Mar 12, 2015 15:45:59 GMT
The Amazing Spider-Man #21 (February 1965) "Where Flies The Beetle...!" Script: Stan Lee Art: Steve Ditko Letters: Sam Rosen Cover: Steve Ditko Summary: Abner Jenkins, also known as The Beetle, has served a six-month sentence and has been released from prison. The authorities have also given him his armor back, as there is no law against him owning an armored costume. He seeks vengeance against the Human Torch, who defeated him in Strange Tales #123. Johnny is out in Manhattan with Doris Evans having a nice peaceful date. But Johnny reads about the Beetle's release and abandons her to go track him (why do his gloves appear when he becomes the Torch?). Meanwhile, Peter is studying at home but is getting a stiff back. He decides to get some exercise by swinging around the city and finds that the people all fear him. The Torch is in the same area and decides to show off for the adoring crowd. Not realizing that the Beetle is following him Johnny gives up his search and returns to Doris's house. She understandably gives him a cold shoulder and tells him that if he can't go 24 hours without using his powers she'll dump him. The Beetle watches them through the window and realizes Doris is the key to getting revenge on the Torch. The next day Doris is doing some shopping but some kids bump into her and knock her parcels over. Who is the good samaritan who helps her? Peter Parker! She's impressed by his sweetness and leaves. Peter notices her wallet on the ground and returns it to her home. She invites him in for a Coke and is charmed by his intelligence, civility and interest in current affairs. Johnny sees this and is jealous. He finds Peter when he's out shopping with Betty and tells him to stay away from his girl. Betty starts crying and runs away which really steams Peter. He starts unloading on Torch, asking him what the big idea is about blowing up his spot. Flash and his friends are watching. Flash is unimpressed, knowing that the Torch would never attack a civilian so Peter's bravery is meaningless and probably an attempt to show off. To prove his point he gets in on the action and gives Torch an earful. Peter finds Betty and tries to make things right with her but she won't hear of it. He decides that since Torch would never fight Peter the best way to get some revenge would be to have Spider-Man make a pass on Dorrie. He changes and heads over to her house. But when Spidey shows up he finds the Beetle already there. They fight and freak Dorrie right out. She calls Johnny to ask for help but he thinks it's a trick and hangs up. The fight busts right through Dorrie's living room window. Beetle grabs Dorrie and flies off with Spidey in hot pursuit. Johnny decides to pay her a visit and realizes Dorrie really was in trouble. Noticing the webbing lying around he decides Spider-Man was responsible and flies after him. He finds the wall crawler and whips fireballs at him. Even asbestos webbing doesn't help. Unable to reason with him Spidey leads him towards the Beetle. At the Bugle Jameson asks Betty why Peter hasn't given him any photos lately. Betty doesn't know and is sick with worry and jealousy. She calls Peter at home to talk to him but he's not there. Taking that to mean he's out with another girl she breaks down in tears. Meanwhile, Spidey has finally made Torch clue in about the Beetle. The two force him into a condemned building where they're able to beat, trap and restrain him. Afterwards Dorrie believes that Spider-Man was in on it. Johnny says they have no proof and he did help in the fight. Spidey leaves to think about the unfairness of life: He hasn't brought in any photos for Jameson lately, Betty is mad at him and the public hates him, while Johnny gets respect, praise and the girl. Dorrie wonders what kind of man Spidey is and Johnny isn't sure. Sometimes he's great, other times he's a pain. Johnny could understand Dorrie falling for Spider-Man but not Peter Parker. Overlooking the city from a tall chimney Spidey wishes he could reveal his secret identity and set his life straight but he just can't bring himself to do it. Observations: This is another weirdo like ASM #16. Like that issue, this feels more like another series with a Spider-Man logo on the cover. Spidey's supporting cast is barely present and continuity doesn't exactly line up, with the public hating Spidey and Peter and Betty being together with no mention of Ned. I suspect this was an inventory issue but I have no way of confirming that. Unfortunately, what does appear of the Spider-Man cast doesn't help. Betty absolutely sucks in this issue. If it really was produced after ASM #20, where the hell does she get off breaking into tears and hysterics at the first sign of Peter being involved with another woman when she was going all around town with Ned Leeds? She gives Peter no opportunity to explain himself and is so paranoid that she believes Peter not being at home is a sign that he is with someone else. Absolute madness and another nail in the coffin of my Betty Brant support. Luckily for us the rest of the issue is better. Yes, it's a distraction from the ongoing story and yes it really is an issue of Strange Tales in disguise but it's a pretty good distraction. There is some really juicy dramatic irony in Peter's confrontation with the Torch that makes me pull my hair out wishing he would just tell him the truth. Thats always golden. Overall it's fun but ultimately an interruption in the ongoing story. The Spidey/Torch dynamic is a almost always a blast but the strength of that relationship is undermined by Betty's pathetic emotional codependency. 3/5Other notes: - Like the previous issue, this is a transitional story that puts a capstone on established trends. This is the last time the Human Torch appears in the Ditko run. He has appeared in 40% of the stories so far and that doesn't even include Spider-Man's guest appearances in FF and Strange Tales. It can't be a coincidence that the Human Torch gets ushered out once Ditko starts dominating the stories.
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Post by Ozymandias on Mar 12, 2015 17:22:02 GMT
This is another weirdo like ASM #16. Like that issue, this feels more like another series with a Spider-Man logo on the cover. It can't be a coincidence that the Human Torch gets ushered out once Ditko starts dominating the stories. It's weird, agreed. I wouldn't compare it to ASM #16, disagreed. It was fun, also agreed. I think they were floating the idea, of giving Johnny its own title, and not just a guest-starring role in Strange Tales. That's why he was seen everywhere, with the other Marvel teen wonder. Once he receded into his role in the FF, he stopped popping up so often, not just under Ditko, but with Romita drawing the title too.
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Post by crazyoldhermit on Mar 13, 2015 4:55:48 GMT
The Amazing Spider-Man #22 (March 1965) "Preeeeeesenting... The Clown, And His Masters Of Menace!" Script: Stan Lee Art: Steve Ditko Letters: Art Simek Cover: Steve Ditko Summary: In a sleazy hotel room the recently released Ringmaster and Circus of Crime's meeting is interrupted by Spider-Man. He warns them to stay out of trouble and slips a spider tracer in the Ringmaster's hat just in case. When he leaves the Circus decides to toss his sorry ass out. He's failed them twice (The Incredible Hulk #3 and ASM #16). Princess Python nominates the Clown for leadership. Ringmaster swears revenge but they kick the crap out of him and throw him out. A few days later Peter is reading about Hank Pym's research and wondering if he should major in physics of bio-chemistry. He ends up reading past the bell and Liz Allan snaps him back to the world. She asks him to walk her home but he can't. Shes barely out of sight when Betty shows up. He clears up the rumors about him and Dorrie Evans and Betty apologizes for her foolishness. Peter asks her to dinner but she can't make it. Instead she invites him to the art exhibit Jonah is sponsoring, which she is obligated to attend. A Madison Avenue art gallery Jameson spouts off about his personally curated art-gallery and is praised for his taste. He claims it's his civic duty to bring art to the masses, although he's really just in it for the money. The art, which is images of feet, bandages and stick figures, does not impress Peter (although Steve Ditko is impressed by how well one artist has drawn a foot!). The art gallery also happens to be the target of the new Circus of Crime. They come in and steal all the paintings they can, with Cannonball headbutting Jameson for good measure. Jameson is knocked out and ends up in the hospital. Peter takes a tearful Betty home (even though Jameson is a grouch she knows he isn't such a bad guy - Of course, this could be because he "saved" her two issues ago) and uses his receiver gadget to track Ringmaster. Ringo has been hauled in for questioning in the crime but he has an alibi and is freed. Still, Spidey follows him and hypnotizes him with his own hat. He tells Spidey about the split and points him to the warehouse they keep their equipment at. Spidey hangs the hat from the ceiling to keep him occupied and leaves, but not before calling the hospital to check up on Jonah. At the warehouse the Circus is arguing about whether or not to have a name for their group. From the rafters Spidey suggests "The Masters of Menace." He handles most of the members alright but gets stuck when he faces Princess Python: He's never faced a girl before! Unwilling to hit her and unsure of what to do, she grabs him tight and leaves him open for a killing blow from the Clown. At his apartment the webbing holding the Ringmaster's hat up dissolves and he slowly returns to normal. He decides to go after the Circus and convince them they can't work without him. The cop who has been tailing him follows. In the hospital Betty keeps a vigil and gets an update from the doctor: He's suffered no internal injuries and should be up soon. She realizes that Peter hasn't even been to the hospital yet. Back at the warehouse Spidey is fighting off the circus once more. He nails Cannonball extra hard, crushing his helmet in revenge for his attack on Jameson. He makes another move at Princess Python but she tells him he has no authority to arrest her. She attempts to convince him to join her, not knowing the Clown is watching her betrayal. She tries to pull off his mask but he gets away from her. He tries to web her but her electric prod, used to control her pet, fries his web shooters. She prods him into a windowless room. The occupant is a giant snake! Spidey manages to tie it in a knot and escape. The Clown is making off with all of the paintings when the Ringmaster knocks him out and takes them. He plans to sell the paintings, hire a larger gang and become a true crime boss. His plans are instantly ruined by the arrival of the police. Spidey also manages to chase Princess Python into the cops. As everyone is arrested Spidey snaps a couple pics and heads to the hospital. Jameson has recovered and is cranky with Betty for skipping work to dote on him. He is also cranky at Peter for not being there (nobody can win with him). Peter says he knew Jameson would pull through since he was only hit on the head. Betty is offended and Jonah fires him but Peter shows him the pictures of the "Masters of Menace." Jonah grabs Peter and Betty by the arm and runs them to the office to publish an extra, then they must plan a new exhibit to take advantage of the publicity. By the time Peter makes it home it's well after dark and Aunt May is furious with him for staying out without calling. He can't tell her the reason for it and she's hurt that he is suddenly keeping secrets from her. The only consolation Peter has is knowing how much more hurt she would be if she found out he was Spider-Man. Observations: If I was accused of rushing out these last two reviews just to get them over it I couldn't deny it. The last issue wasn't very strong and I'd be lying if I said this one was as well. I like the idea of having a supervillain group throw out their leader and do things like argue over their new name, but the characters all feel very drab and third-rate. The Clown is maybe the most uncreative villain since The Tinkerer (he's a circus clown and he's called The Clown. Get it?!) the Princess Python, while sporting an interesting concept, feels half-baked. She's called Princess Python because she has a big snake but the snake only appears on one page (beautifully drawn by Ditko). The most interesting thing about these villains is that Spidey faces a woman for the first time and has no idea how to handle it. Theres a sexual undercurrent to the scene. It plays out like a seduction and Peter, being a virgin, is a little overwhelmed by the whole thing while managing to keep a cool head. It's the first time in the series there has been anything even hinting at physical intimacy between Peter and a woman (I can't recall him even holding Betty's hand) and I'm surprised it slipped past the code. Betty is able to redeem herself a bit this issue. She apologizes for her awful behaviour last issue and shows as much loyalty to Jonah as she did to Aunt May during her hospital stay. She's just a nice girl prone to major hysterics. The drama with Jonah feels a little shoehorned. Were there any doubts that he would be anything other than OK? I guess with the recent crisis Aunt May experienced anything could happen but to have it resolved neatly at the end of the issue made it feel a little cheap. Overall I think this one is straight mediocre. It feels like Stan and Steve are treading water as the power shifts over to Steve completely. 2/5 At least the cover is fantastic as ever Other notes: - First appearance of a creator in a Spider-Man comic with Steve Ditko's one-panel cameo. - Luckily for me the Ringmaster won't show up in a Spidey book for another thirty years.
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Post by Ozymandias on Mar 13, 2015 9:17:28 GMT
The most interesting thing about these villains is that Spidey faces a woman for the first time and has no idea how to handle it. Theres a sexual undercurrent to the scene. It plays out like a seduction and Peter, being a virgin, is a little overwhelmed by the whole thing while managing to keep a cool head. It's the first time in the series there has been anything even hinting at physical intimacy between Peter and a woman (I can't recall him even holding Betty's hand) and I'm surprised it slipped past the code. I also found that scene with the two of them, to be the most interesting aspect of an otherwise rather dull episode. Kurt Busiek would try to undermine its significance, by introducing an earlier female villain, in Untold Tales of Spider-Man #10.
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Post by crazyoldhermit on Mar 13, 2015 16:03:18 GMT
The most interesting thing about these villains is that Spidey faces a woman for the first time and has no idea how to handle it. Theres a sexual undercurrent to the scene. It plays out like a seduction and Peter, being a virgin, is a little overwhelmed by the whole thing while managing to keep a cool head. It's the first time in the series there has been anything even hinting at physical intimacy between Peter and a woman (I can't recall him even holding Betty's hand) and I'm surprised it slipped past the code. I also found that scene with the two of them, to be the most interesting aspect of an otherwise rather dull episode. Kurt Busiek would try to undermine its significance, by introducing an earlier female villain, in Untold Tales of Spider-Man #10. I've heard a lot of good things about Untold Tales, enough that I bought the omnibus. Three years later I still haven't actually read it but now that I'm in this vintage Spidey world I think I should finally give it a go.
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Post by crazyoldhermit on Mar 13, 2015 16:03:58 GMT
The Amazing Spider-Man #23 (April 1965) "The Goblin and the Gangsters" Script: Stan Lee Art: Steve Ditko Letters: Artie Simek Cover: Steve Ditko Summary: The Green Goblin has crashed mob boss Lucky Lobo's meeting with an "offer" to take over his rackets. Lobo ain't having it and orders his men to attack the Goblin. Gobby blasts them with sparks and throws a pumpkin bomb to stun them before leaving (he doesn't want to kill them, they will be valuable soldiers when he's boss). The police and a reporter see the Goblin leaving and they investigate. The reporter starts his story and the cop tells Lobo to stay out of trouble. Lobo's lieutenant, a man in a funny hat, tells him they should leave town. Soaring through the night, the Goblin lays out his plan: Take over Lobo's gang and use them to force the other mobs to fall in line, giving the Goblin ultimate control over the city. The next morning Peter checks on his costume in the attic, where he's hung it to dry after laundering. Still wet he decides not to wear it. He heads to the Bugle to visit Betty and finds a letter from Ned Leeds on her desk. He also sees Jameson talking to Frederick Foswell, who has been released from prison and is back working for the Bugle. Jameson hired the ex-con for the good PR. Pete finds Betty sorting files in Jameson's office. He asks her out to a movie but she has to work late tonight. He asks if there's any news in her life but she can't think of any. Figuring that she's keeping Ned's letter he leaves suspicious. But it turns out Betty wasn't keeping anything secret, she just had a brain fart and forgot. Out on the street Peter sees Foswell talking with a suspicious character. He wants to follow but he can't, as he isn't wearing a costume. Elsewhere, the Goblin is talking to the man with the goofy hat. He's decided to betray Lobo and gives Goblin a record of his income. Gobby plans to release it publicly and get the IRS to crush Lobo. He knows just the way to do it. At the Midtown Business Executives Club, J. Jonah Jameson is chatting with his buddies about his selflessness in hiring Foswell (including a man with an absolutely improbable wavy hairdo...). A club employee informs him that one of his employees is calling for him. Jameson finds Foswell with a list of Lucky Lobo's financial secrets. Jameson sees the information as a way to solidify both the Bugle's reputation and his own reputation as a do-gooder. Jameson turns the information over to the police, who immediately prepare to arrest Lobo. The Goblin eavesdrops and is happy that his plan is going so smoothly. With his costume now dried Spidey heads out looking for some action. He finds the raid at one of lobo's businesses and is about to snap some pictures when he sees a getaway car. But the Goblin sees it as well and wants the witnesses to remain so they can rollover on Lobo. He disables the car with a bomb and flies off. Spidey wonders why he is aiding the police and follows him. Gobby notices this and leads Spidey to Lobo's hideout. Gobby busts in on Lobo and starts unloading with bombs, sparks and smoke. Spidey sees him battling the criminals and decides to help him out. But as soon as he shows up Gobby leaves. Now Spidey has to deal with a room of Lobo's top men. It's no sweat and soon Spidey is able to barricade himself in a room. He's not hiding from them, he just wants to call Aunt May and let her know he's running late. As soon as he hangs up the gang busts the door down but they're captured in a large net Spidey cast up on the ceiling. Spidey demands an explanation from Lobo. Lobo explains that while the Gobby is making it look like he's a hero, he's really using the police to create a power vacuum for him to fill. Realizing he's been duped Spidey webs Lobo up and heads after the Goblin. He jumps on top of him and forces him down through a skylight. Inside a strange industrial facility the two weave between a web of pipes and machinery. The battle ends when Gobby runs out of his tricks and Spidey runs out of web fluid. With no other choice Gobby flees. Spidey makes a mad leap after him but falls short and the Goblin escapes once more. In his hideout the Goblin checks the news report and finds he's made a terrible mistake: He was too thorough in assisting the police and the entire gang has been captured, leaving him with nothing to take over. His criminal aspirations are ruined for now. Peter heads to the Bugle to see Betty. He overhears Jameson thanking Foswell for the information on Lobo's gang. Peter wonders if theres a connection between him and the Goblin. Foswell is an intelligent man and he puts Peter on edge. Jameson asks Peter if he's got any pictures but Peter's been too busy to take them. Jameson can't believe it. Peter makes some small talk with Betty and she doesn't bring up Ned's letter. At home he sits in the dark and wonders why he's feeling so edgy. His grades are good, Betty is just being forgetful and he almost beat the Goblin but he still feels like terrible danger is just around the corner. Observations: After two so-so issues Stan and Steve are back. The Goblin appears for his third story and his character continues to evolve. The first time around he had a hairbrained scheme to kill Spidey and mostly told the Enforcers what to do. The second time he was much more direct in battling Spider-Man. Now he's playing the role of a strategist, with an unconventional plan that actually makes sense and doesn't involve Spidey at all. It also makes sense for Gobby to be able to win some good press, as so far the only crimes he has committed are attacking Spider-Man. His alter-ego makes his first appearance this issue. Comic legend says that Stan and Steve split over disagreement regarding the Goblin's identity but the inclusion of Norman Osborn 14 issues before his official debut and 8 issues before the debut of his nearly identical son can't make it a coincidence, and Ditko himself has said that Norman was always intended to be the Goblin. So what we have in this issue is a brilliant bit of foresight on Ditko's part, simply because of how inconspicuous it is. Who would suspect? And yet, there he is. Of course, to a kid in 1965 Foswell is probably the #1 suspect. It's not a difficult leap to make, except Foswell was in jail during the Goblin's first two appearances and when Peter saw the Goblin unmasked in #17 he didn't recognize him. So it's impossible but a nice bit of misdirection. The return of Foswell creates its own little mystery as a question of how trustworthy he really is and if he has actually reformed. The Betty Brant situation sours a bit but this time Peter is at fault. Of course, he didn't break down in tears like a hysterical female (as he would say) but he feels the snub even though Betty simply forget to bring it up (twice). To his credit, Peter is able to keep it limited to a bit of slight coldness and passive-aggressiveness. But Betty staying in contact with Ned is a bad omen, since Peter had been wanting to take advantage of his absence to clinch their relationship once and for all. Overall it's an engaging and exciting story with moody artwork and quite a bit of mystery. The Goblin becomes deadlier than ever (even if Spidey scores more and more points each fight) and the question of his identity is as engaging as ever. 5/5Other notes: - First appearance of Norman Osborn - For the first time Peter dresses casually, wearing a snazzy white jacket and black shirt instead of his usual blue suit jacket, yellow sweater vest and white dress shirt.
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Post by Ozymandias on Mar 13, 2015 18:55:34 GMT
Three years later I still haven't actually read it but now that I'm in this vintage Spidey world I think I should finally give it a go. I really enjoyed it when it came out, but was disappointed upon revisiting the series, a couple of years ago. It's not that it has aged badly, or anything like that, the problem is what I compared it to. The first time, competition was weak, we're talking the 90's, after all. The second time came quite close, to my whole rereading of the first three decades of Spider-Man comics, and it amply didn't live up, to the Lee-Ditko material.
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