Ultimate Comics Spider-Man by Brian Michael Bendis: volume 1


By Brian Michael Bendis & Sara Pichelli (Marvel)
ISBN: 978-0-7851-5712-0                  978-0-7851-5713-7(TPB)

When the Ultimate Comics Spider-Man died, writer Brian Michael Bendis and Marvel promised that a new hero would arise from the ashes…

Marvel’s Ultimates imprint began in 2000 with a new post-modern take on major characters and concepts to bring them into line with the tastes of 21st century readers – apparently a wholly different market from those baby-boomers and their descendants content to stick with the precepts sprung from founding talents Jack Kirby, Steve Ditko and Stan Lee… or simply those unable or unwilling to deal with decades of continuity baggage (seven if you include the Golden Age/Timely Comics tales retroactively co-opted into the mix which saturated the originals).

Eventually even this darkly nihilistic new universe became as continuity-constricted as its ancestor and in 2008 the cleansing event “Ultimatum” culminated in a reign of terror which excised dozens of super-humans and millions of lesser mortals in a devastating tsunami which inundated Manhattan courtesy of mutant menace Magneto.

In the aftermath Peter Parker and his fellow meta-human survivors struggled to restore order to a dangerous new world. Spider-Man finally gained a measure of acceptance and was hailed a hero when he valiantly and very publicly met his end during a catastrophic super-villain confrontation…

This collection – published before the mega-crossover events Time Runs Out and Secret Wars which resulted in the merger of the Ultimate and mainstream Marvel Universe – re-presents the introductory teaser from Ultimate Comics Fallout #4 (August 2011) and follow-up Ultimate Comics Spider-Man: Who is Miles Morales? #1-5) with a new and even younger Arachnid Avenger and describes how, just like his predecessor, a troubled boy learned the painful price of misusing the unique gifts fate had bestowed…

The epic opens with a skinny kid having the poor taste to parade around town in a cheap imitation costume of fallen hero Spider-Man encountering and somehow defeating vicious super-villain The Kangaroo. Then the revelations begin by spinning back to the relatively recent past where manic industrialist Norman Osborn repeats the genetic experiment which first gave Peter Parker his powers (see Ultimate Spider-Man volume 1: Power and Responsibility) via the bite of an artificially-mutated spider.

Unfortunately, the deranged mastermind didn’t expect a burglar to waltz in and accidentally carry off the latest test animal as part of his haul…

When grade-schooler Miles Morales gets into prestigious and life-changing Brooklyn Visions Academy Boarding School by the most callous of chances, the brilliant African American/Latino lad quickly and cynically realises life is pretty much a crap-shoot… and unfair to boot. Feeling guilty about his unjust success and sorry for the 697 other poor kids who don’t get his chance, he sneaks off to visit his uncle Aaron.

The visit has to be secret since his uncle is a “bad influence”: a career criminal dubbed The Prowler. Whilst there, a great big spider with a number on its back bites Miles and he begins to feel very odd…

For starters he starts fading from sight…

Suddenly super-fast and strong, able to leap huge distances and fade from view, Miles rushes over to see geeky pal Ganke, a brilliant nerd already attending Brooklyn Visions. Applying “scientific” testing, the boy also discovers Miles can deliver shocking, destructive charges through his hands. When Miles goes home Ganke continues online research and deduces a connection to Spider-Man; strenuously pushing his friend towards becoming a costumed crusader.

However, after Miles assists during a tenement fire, saving a mother and baby, shock sets in and he resolves never to use his powers again…

Time passes: Miles and Ganke are roommates at the Academy for almost a year when news of a major metahuman clash rocks the city. Troubled Miles heads out and is an accidental bystander at the scene of Spider-Man’s death.

Seeing a brave man perish so valiantly, Miles is again consumed by guilt: if he had used his own powers when they first manifested he might have been able to help; to save a true hero…

As part of the crowd attending Parker’s memorial Miles and Ganke talk to another mourner, a girl who actually knew Parker. Gwen Stacy offers quiet insights to the grieving child and a phrase which alters the course of his life forever: “with great power comes great responsibility…”

Clad in a Halloween Spidey costume borrowed from Ganke, Miles takes to the night streets for the first time and stops Kangaroo from committing murder…

His third night out the exhilarated 13-year old encounters the terrifying and furiously indignant Spider-Woman who thrashes and arrests him, before dragging him to Government agency S.H.I.E.L.D, where Hawkeye, Iron Man and master manipulator Nick Fury coldly assess him.

However, before they can reach a decision on Miles’ fate, murderous malcontent Electro breaks free of the Triskelion’s medical custody ward and goes on a rampage.

Despite easily defeating the seasoned heroes the voltage villain is completely unprepared for a new Spider-Man: especially as the boy has a range of extra powers including camouflage capabilities and an irresistible “venom-strike” sting…

As Miles considers the full implications of his victory, Fury imparts a staggeringly simple homily: “With great power…”

Brian Michael Bendis and Sara Pichelli crafted a stirring new chapter both engaging and intriguing and this stirring debut volume (available in Hardcover, Trade Paperback and digital editions) also contains a gallery of alternate covers by Marko Djurdjevic and Pichelli.

Tense, breathtaking, action-packed, evocative and full of the light-hearted, self-aware humour which blessed the original Lee/Ditko tales, this is a controversial but worthy way to continue and advance the legend Fights ‘n’ Tights addicts will admire and adore…
A British Edition ™ & © 2012, 2016 Marvel Characters Inc. All rights reserved.

Amazing Spider-Man Masterworks volume 12


By Stan Lee, Gerry Conway, John Romita, Gil Kane & various (Marvel)
ISBN: 978-0-7851-4214-0 (HB)

Amazing Spider-Man was always a series that matured with – or perhaps just slightly ahead – of its fan-base. As the depressing weight of the Sordid Seventies continued, that feeling seemed to intensify with every issue…

By the time of these tales Stan Lee was easing out of writing and here replaces himself with 19-year-old science fiction author Gerry Conway. The scripts – aided in no small part by the plotting input and mentoring of resident illustrator John Romita – achieved a more contemporary tone (but, naturally feeling quite dated from here in the 21st century, Dude!): purportedly closely in tune with the times. Combined with the emphatic use of soap opera subplots which kept older readers glued to the series even when bombastic battle sequences didn’t, Amazing Spider-Man grew to ever greater heights of popularity.

Moreover, as a sign of the times a hint of cynical surrealism also began creeping in…

Thematically, there’s a decline in the use of old-fashioned gangsterism and a growing dependence on outlandish villains. The balance of costumed super-antagonists with thugs, hoods and mob-bosses, was gradually eroding and soon a global resurgence of interest in supernatural stories would result in more monsters and uncanny happenings…

Nevertheless, the wallcrawler was still indisputably mainstream comics’ voice of youth and defined being a teenager for young readers of the 1970s, tackling incredible hardships, fantastic foes and the most pedestrian and debilitating of frustrations.

Lonely High School nerd Peter Parker had grown up and gone to college. Because of his guilt-fuelled double-life he struggled there too, but found true love with policeman’s daughter Gwen Stacy

Re-presenting Amazing Spider-Man #110-120 (originally released between July 1972 and May 1973) the astonishing tales in this titanic twelfth Masterworks tome begin with ‘The Birth of… the Gibbon!’ (by Lee & Romita) which finds a despondent and world-weary wallcrawler battling another shunned and lonely outcast. Orphaned drifter Martin Blank possessed an anthropoid frame which made him an outcast and brought out the cruel worst in humanity. When he reaches out in friendship and admiration to Spidey he is rebuffed again and savagely lashes out…

The Gibbon retuned a month later when psychopathic stalker Kraven the Hunter brainwashed the hapless outcast ‘To Stalk a Spider!’ in a tale which saw the beginning of Gerry Conway’s tenure on the title, after which #112 follows up with another periodic crisis of faith for Peter Parker as ‘Spidey Cops Out!’

The harassed and exhausted hero is ready to chuck it all in until another nightmarish old adversary resurfaces as part of a burgeoning gang war…

They Call the Doctor… Octopus!’ (Conway & Romita with art assistance from Tony Mortellaro and Jim Starlin) sees the city plunged into chaos when the multi-limbed madman squares off against mysterious gang-boss Hammerhead with a rededicated but fearfully overmatched Spider-Man caught in the middle…

The next chapter in a brutal and comparatively long-running duel for control of New York’s underworld played out in ‘Gang War, Schmang War! What I Want to Know is … Who the Heck is Hammerhead?’ by Conway, John Romita Sr., Mortellaro & Jim Starlin, with our angst-ridden arachnid trapped between the battling mobs of 1930s movie gangster pastiche Hammerhead and sworn nemesis Dr. Octopus; each seeking to top the other’s callous, staggering ruthlessness.

In the melee Spidey is captured by the bizarre newcomer and learns from the boastful braggart how an ordinary amnesiac gunsel was rebuilt into an unstoppable cyborg by a rogue scientist named Jonas Harrow.

Seconds from death, Spider-Man is driven to risk everything on a wild escape bid after he overhears that Ock will be meeting up with an old lady. The agonised wallcrawler fears that his beloved, befuddled, missing-for-months Aunt May is once more sheltering the many-armed menace…

Dashing into the Westchester countryside, he breaks in to Octavius’ HQ only to be brained with a vase by the terrified May Parker. Moments behind him are Hammerhead’s goons and, all too soon, ‘The Last Battle!’ is underway…

As the mobsters decimate each other, Spider-Man barely escapes being shot by his closest relative and is more than happy to disappear when the police show up to arrest (almost) everybody.

In the aftermath, however, the Widow Parker astounds everybody by revealing that she will be staying in Octopus’ mansion until he is released…

Amazing Spider-Man #116 began an extended political thriller as charismatic reformer Richard Raleigh opens a savvy campaign to become Mayor, only to be opposed and hunted by a brutish monster and hidden mastermind in Suddenly… the Smasher!’

Older fans will recognise much of the story and art since it was a recycled Lee, Romita & Jim Mooney monochrome saga from 1968’s Spectacular Spider-Man Magazine (augmented with additional art by Romita & Mortellaro and bridging scenes scripted by Conway): all neatly reconfigured to encompass new subplots regarding May’s absence and publisher J. Jonah Jameson’s involvement and obsession with Law-&-Order demagogue Raleigh…

The drama deepens with ‘The Deadly Designs of the Disruptor!’ as the monster’s masked master intensifies efforts to destroy the would-be Mayor – with only Spider-Man seemingly able to deter the maniac – before the affair finally culminates in a ‘Countdown to Chaos!’ wherein the true architect of the campaign of terror is exposed and destroyed…

Peter’s problems exponentially increased in #119 as a mysterious telegram for Aunt May calls him away to Canada to meet a lawyer named Rimbaud. Before he leaves, however, Peter’s best friend’s father has a disturbing episode.

Norman Osborn had been the maniacal Green Goblin until cured by hallucinogen-induced amnesia. Now as Parker readies himself for a trip to Montreal, Osborn seems to be recovering those obscured memories…

With no other option, our harried hero heads north, arriving in time to be caught in a city-wide panic as another verdant former sparring partner hits town. ‘The Gentleman’s Name is… Hulk’ (an all-Conway & Romita collaboration) saw the wallcrawler utterly overmatched but still striving to stop the rampaging green juggernaut, spectacularly culminating in ‘The Fight and the Fury!’ (illustrated by Gil Kane with Paul Reinman and inked by Romita & Mortellaro).

With the immediate threat averted, Peter at last rendezvous with Rimbaud only to see the secretive legal eagle murdered before he can share whatever he knows about May Parker…

To Be Continued…

Fast-paced, fabulously far-fetched and full of innovative thrills, these tales again proved Spider-Man was bigger than any creator and was well on the way to becoming as real as Romeo and Juliet, Sherlock Holmes or Tarzan
© 1972, 1973, 2011 Marvel Characters, Inc. All rights reserved.

Amazing Spider-Man Masterworks volume 11


By Stan Lee, Gil Kane, John Romita & various (Marvel)
ISBN: 978-0-7851-3507-4 (HB)

Amazing Spider-Man was always a comicbook that matured with – or perhaps just slightly ahead – of its fan-base. As memories of the Swinging Sixties sank beneath the depressing weight of the Sordid Seventies, that feeling seemed to intensify with every issue…

This electrifying eleventh full-colour collection of chronologically congregated early adventures of the Amazing Arachnoid sees the World’s Most Misunderstood Hero foreshadowing a major change in the tone and timbre of comics even while continuing the long climb to becoming a global household name…

After a rather nervous nativity The Amazing Spider-Man soon became a certified sensation with kids of all ages. Before too long the quirky, charming, thrillingly action-packed comics soap-opera would become the model for an entire generation of younger heroes impatiently elbowing aside the staid, (relatively) old thirty-something mystery-men of previous publications and hallowed tradition.

Smart-but-alienated Peter Parker was bitten by a radioactive spider during a school trip. Discovering strange superhuman abilities which he augmented with his own natural chemistry, physics and engineering genius, the kid did what any lonely, geeky nerd would do with such newfound prowess: he tried to cash in for girls, fame and money.

Making a costume to hide his identity in case he made a fool of himself, Parker became a minor media celebrity – and a criminally self-important one. To his eternal regret, when a thief fled past him one night he didn’t lift a finger to stop him, only to find when he returned home that his guardian uncle Ben Parker had been murdered.

Crazed and vengeful, Peter hunted the assailant who’d made his beloved Aunt May a widow and killed the only father he had ever known, discovering, to his horror, that it was the self-same felon he had neglected to stop. His irresponsibility had resulted in the death of the man who raised him, and the traumatised boy swore to forevermore use his powers to help others…

Since that night, the Wondrous Wallcrawler tirelessly battled miscreants, monsters and madmen, with a fickle, ungrateful public usually baying for his blood even as he perpetually saves them…

Re-presenting Amazing Spider-Man #100-109 – originally released between September 1971 and June 1972 – the astonishing tales begins with ‘The Spider or the Man?’ (by Stan Lee, Gil Kane & Frank Giacoia): a long-anticipated anniversary issue which proved to be a game-changing shocker as, determined to retire and marry, Peter attempts to destroy his powers with an untested self-concocted serum…

The result is a hallucinogenic trip wherein action ace Kane got to draw an all-out battle between Spidey and an army of old enemies, culminating in a waking nightmare when Parker regains consciousness and discovers he’s grown four additional arms…

With #101 Roy Thomas stepped in as scripter for ‘A Monster Called… Morbius!’, as the eight-limbed hero desperately seeks some way to reverse his condition. Fortuitously, he stumbles across a murderous costumed horror who drinks human blood. Making matters even worse is old foe The Lizard who turns up, determined to kill them both…

Amongst the many things banned by the Comics Code in 1954 were horror staples vampires and werewolves, but the changing comics tastes and rising costs of the early 1970s were seeing superhero titles dropping like flies in a blizzard.

With interest in suspense and the supernatural growing, all comics publishers were pushing to re-establish scary comics again, and the covert introduction of a “Living Vampire” in superhero staple Spider-Man led to another challenge to the CCA, the eventually revision of the horror section of the Code and a resurgent rise of supernatural heroes and titles.

For one month Marvel also experimented with double-sized comicbooks (DC’s switch to 52-page issues lasted almost a year – August 1971-June 1972 cover-dates) and Amazing Spider-Man #102 featured an immense, three-chapter blockbuster beginning with ‘Vampire at Large!’ wherein the octo-webspinner and anthropoid reptile join forces to hunt the a science-spawned bloodsucker after discovering a factor in the vampire’s saliva could cure both part-time monsters’ respective conditions.

‘The Way it Began’ briefly diverges from the main narrative to present the tragic secret origin of Nobel Prize winning biologist Michael Morbius and how be turned himself into a haunted night-horror before ‘The Curse and the Cure!’ brings the tale to a blistering conclusion and restores the status quo and requisite appendage-count.

Designed as another extra-length epic, ‘Walk the Savage Land!’ began in the now conventionally paginated #103 but was sliced in half and finished as #104 ‘The Beauty and the Brute’ in #104.

When the Daily Bugle suffers a financial crisis, bellicose publisher J. Jonah Jameson takes Peter Parker and his girlfriend Gwen Stacy on a monster-hunt to the Lost World under the Antarctic, to encounter not only dinosaurs and cavemen but also noble savage Ka-Zar, perfidious villain Kraven the Hunter and terrifying giant alien baby Gog in a fabulous pastiche and homage to Willis O’Brien’s King Kong delivered with love and pride from Thomas, Kane & Giacoia.

Capitalising on an era rife with social unrest and political protest, Stan Lee returned in #105 with ‘The Spider Slayer!’ as the New York City police install spy cameras on every rooftop and discredited technologist Spencer Smythe resurfaces with an even more formidable anti-Spider-Man robot for Jameson to set against the Wall-crawler.

The story also features the release of Harry Osborn from drug rehab and former school bully and gadfly Flash Thompson returning from Vietnam, but the big shock is discovering the once beneficent Smythe has gone totally bonkers…

Responsible for the police spy-eyes too, Smythe observes Spidey without his mask and in ‘Squash! Goes the Spider!’ (triumphantly pencilled by the returning John Romita Sr.) the Professor sells out old employer Jameson, allies with criminal gangs and attempts to plunder the entire city. When the Amazing Arachnid attempts to block the banditry, he finds himself facing the ultimate Spider-Slayer before valiantly battling his way to victory in ‘Spidey Smashes Thru!’

The secret of Flash Thompson starts to unfold in issue #108’s ‘Vengeance from Vietnam!’ (with Romita inking his own pencils) as our troubled war hero reveals an American war atrocity. The event left a peaceful in-country village devastated and a benign wise man comatose and near-dead, consequently setting a vengeful cult upon the saddened soldier’s guilt-ridden heels, which all Spider-Man’s best efforts could not deflect or deter.

The campaign of terror was only concluded in #109 when ‘Enter: Dr. Strange!’ sees America’s Master of the Mystic Arts divine the truth and set things aright, but only after an extraordinary amount of unnecessary violence…

Blending cultural authenticity with captivating art and making a dramatic virtue of the awkwardness, confusion and sense of powerlessness most of the readership experienced daily resulted in an irresistibly intoxicating read, delivered in addictive soap-opera instalments, but none of that would be relevant if the stories weren’t so compellingly entertaining. This is Spider-Man at his very best and also shows the way in which the hero began to finally outgrow his (co)creator.
© 1971, 1972, 2011 Marvel Characters, Inc. All rights reserved.

Amazing Spider-Man Masterworks volume 10


By Stan Lee, John Romita, Gil Kane, Jim Mooney & various (Marvel)
ISBN: 978-0-7851-2932-5 (HB)

Amazing Spider-Man was always a comicbook that matured with – or perhaps just slightly ahead – of its fan-base. As the Swinging Sixties segued into the Sordid Seventies, that feeling seemed to intensify with every issue…

This breathtaking tenth titanic full-colour tome of chronologically compiling the early adventures of the Arachnoid Amazement sees the World’s Most Misunderstood Hero achieve truly national prominence as the real world intersected with the niche realm of comics…

After a shaky start The Amazing Spider-Man quickly became a popular sensation with kids of all ages. Before too long the quirky, charming, thrillingly action-packed comics soap-opera would become the model for an entire generation of younger heroes impatiently elbowing aside the staid, (relatively) old thirty-something mystery-men of previous publications and hallowed tradition.

Smart-but-alienated Peter Parker was bitten by a radioactive spider during a school trip. Discovering strange superhuman abilities which he augmented with his own natural chemistry, physics and engineering genius, the kid did what any lonely, geeky nerd would do with such newfound prowess: he tried to cash in for girls, fame and money.

Making a costume to hide his identity in case he made a fool of himself, Parker became a minor media celebrity – and a criminally self-important one. To his eternal regret, when a thief fled past him one night he didn’t lift a finger to stop him, only to find when he returned home that his guardian uncle Ben Parker had been murdered.

Crazed and vengeful, Peter hunted the assailant who’d made his beloved Aunt May a widow and killed the only father he had ever known, discovering, to his horror, that it was the self-same felon he had neglected to stop. His irresponsibility had resulted in the death of the man who raised him, and the traumatised boy swore to forevermore use his powers to help others…

Since that night, the Wondrous Wallcrawler tirelessly battled miscreants, monsters and madmen, with a fickle, ungrateful public usually baying for his blood even as he perpetually saves them…

Re-presenting Amazing Spider-Man #88-99 – originally released between September 1970 and August 1971 – the spider-sagas revel in the fact that Peter and his ever-expanding cast of comrades were practically household names and the darlings of college campuses and the media intelligentsia throughout America and the world. Stan Lee’s scripts tapped into the always-evolving zeitgeists of the times and the deft use of soap opera plots kept older readers glued to the series even if the bombastic battle sequences didn’t. And here a sharp reminder came – that in those days at least – funnybooks were not immune to tragedy…

The wonderment starts to unfold in ‘The Arms of Doctor Octopus!’ (Lee, John Romita & Jim Mooney) with the many-tentacled terror escaping jail and capturing a jetliner full of Chinese diplomats. It all ends with explosive suddenness and apparent suicide after the wallcrawler intervenes but is promptly followed by ‘Doc Ock Lives!’ which heralded a new era of visual dynamism as Gil began a sporadic but memorable run as penciller whilst Romita reverted to inker. The octopus rampages through town causing carnage until Spider-Man again confronts him. The battle took a lethal turn in ‘And Death Shall Come!’ wherein Peter Parker’s attempts to stop him led to the death of a beloved cast member…

With that tragic demise of a cast regular, the webslinger became a wanted fugitive and already fanatical publisher J. Jonah Jameson began backing “Law and Order” election hopeful Sam Bullitt in a campaign ‘To Smash the Spider!’, utterly unaware of the politician’s disreputable past and ultra-right-wing agenda, but the secret came out in #92 ‘When Iceman Attacks’

The ambitious demagogue convinced the youngest X-Man that Spider-Man had kidnapped Parker’s paramour Gwen Stacy but the Wondrous Wallcrawler’s explosive battle against the mutant exposed the corrupt and explicitly racist Bullit in an all-out action extravaganza featuring some of the best fight-art of the decade by two of the industry’s greatest names.

Romita resumed pencilling with issue #93, which saw the return of an almost forgotten frenemy in ‘The Lady and… The Prowler!’. Hobie Brown was a super-burglar gone straight, but when he saw that the Amazing Arachnid was wanted, he too was all too ready to believe the media hype…

Amazing Spider-Man #94 (Lee, Romita & Sal Buscema) offered a fresh glimpse of the hero’s fabled origin as part of a dynamic dust-up with The Beetle ‘On Wings of Death!’, after which Peter headed for London to woo his estranged girlfriend Gwen, who had fled the manic violence of America.

Sadly, ‘Trap for a Terrorist’ found the city under threat from a gang of bombers, which apparently only Spider-Man could handle, so she returned home, never knowing Parker had come after her.

Everything was forgotten in the next issue when deeply disturbed and partially amnesiac industrialist Norman Osborn abruptly remembered he once had another more macabre persona before once more attacking Peter in #96’s ‘…And Now, the Goblin!’ by Lee, Kane & Romita.

Lee had long wanted to address the contemporary drugs situation in his stories but was forbidden by Comics Code Authority strictures. When the US Department of Health, Education and Welfare approached him to tackle the issue, Lee crafted the 3-part Green Goblin tale. When it was refused Code approval, the writer-editor went ahead and published it anyway…

Although the return of the madman who knew all Spider-Man’s secrets was the big fan-draw, the real meat of the tale was how Osborn’s son Harry – a perfectly normal rich white kid and Peter Parker’s best friend – could be drawn into a web of addiction, abuse and toxic overdose…

Frank Giacoia began inking Kane with the second instalment, ‘In the Grip of the Goblin!’ as the elder Osborn ran riot, almost killing the webslinger and preparing for his final deadly assault even as his son lay dying, before the saga spectacularly concluded with ‘The Goblin’s Last Gasp!’ as, in the clinch, the villain’s deeply-buried paternal love proved his undoing and Parker’s salvation…

This collection closes with a placeholder yarn designed to set up major events for the anniversary 100th issue.

Amazing Spider-Man #99 portrays ‘A Day in the Life of…’: an all-action, social drama-tinged palate-cleanser with Peter and Gwen finally getting their love-life back on track, only marginally diverted by a prison breakout easily quelled by the Arachnid Avenger, whilst highlighting the growing scandal of prison conditions.

The best was yet to come…
© 1970, 1971, 2012 Marvel Characters, Inc. All rights reserved.

Incredible Hulk Epic Collection: Man or Monster?


By Stan Lee, Jack Kirby, Steve Ditko, Dick Ayers & various (Marvel)
ISBN: 978-0-7851-9600-6

Chronologically collecting the Jade Juggernaut’s earliest appearances, this titanic tome (available as a hefty paperback and relatively weightless digital edition) gathers Incredible Hulk #1-6, Fantastic Four #2 and 25-26, Avengers #1-3 and 5, Amazing Spider-Man #14, Tales to Astonish #59 and a memorable clash with Thor from Journey into Mystery #112: cumulatively spanning early 1962 to the end of 1964.

The Incredible Hulk was new-born Marvel’s second new superhero title, although technically Henry Pym debuted earlier in a one-off yarn in Tales to Astonish #27 (January 1962). However, he didn’t become a costumed hero until the autumn, by which time Ol’ Greenskin was not-so-firmly established.

The Hulk smashed right into his own bi-monthly comic and, after some classic romps by Young Marvel’s finest creators, crashed right out again. After six issues the series was cancelled and Lee retrenched, making the Gruff Green Giant a perennial guest-star in other Marvel titles until such time as they could restart the drama in their new “Split-Book” format in Tales to Astonish where Ant/Giant-Man was rapidly proving to be a character who had outlived his time.

Cover-dated May 1962, the Incredible Hulk #1 sees puny atomic scientist Bruce Banner, sequestered on a secret military base in the desert, perpetually bullied by the bombastic commander General “Thunderbolt” Ross as the clock counts down to the World’s first Gamma Bomb test.

Besotted by Ross’s daughter Betty, Banner endures the General’s constant jibes as the timer ticks on and tension increases.

At the final moment Banner sees a teenager lollygagging at Ground Zero and frantically rushes to the site to drag the boy away. Unknown to everyone, the assistant he’s entrusted to delay the countdown has an agenda of his own…

Rick Jones is a wayward but good-hearted kid. After initial resistance he lets himself be pushed into a safety trench, but just as Banner prepares to join him The Bomb detonates…

Somehow surviving the blast, Banner and the boy are secured by soldiers, but that evening as the sun sets the scientist undergoes a monstrous transformation. He grows larger; his skin turns a stony grey…

In six simple pages that’s how it all starts, and no matter what any number of TV or movie reworkings or comicbook retcons and psycho-babble re-evaluations would have you believe that’s still the best and most primal take on the origin. A good man, an unobtainable girl, a foolish kid, an unknown enemy and the horrible power of destructive science unchecked…

Written by Stan Lee, drawn by Jack Kirby with inking by Paul Reinman, ‘The Coming of the Hulk’ barrels along as the man-monster and Jones are kidnapped by Banner’s Soviet counterpart the Gargoyle for a rousing round of espionage and Commie-busting. In the second issue the plot concerns invading aliens, and the Banner/Jones relationship settles into a traumatic nightly ordeal as the good doctor transforms and is locked into an escape-proof cell whilst the boy stands watch helplessly. Neither ever considers telling the government of their predicament…

‘The Terror of the Toad Men’ is formulaic but viscerally and visually captivating as Steve Ditko inks Kirby; imparting a genuinely eerie sense of unease to the artwork. Incidentally, this is the story where the Hulk inexplicably changed to his more accustomed Green persona…

Although back-written years later as a continuing mutation, the plain truth is that grey tones caused all manner of problems for production colourists so it was arbitrarily changed to the simple and more traditional colour of monsters.

The third issue presented a departure in format as long, chaptered epics gave way to complete short stories. Dick Ayers inked Kirby in the transitional ‘Banished to Outer Space’ which radically altered the relationship of Jones and the monster, with the story thus far reprised in 3-page vignette ‘The Origin of the Hulk’ after which Marvel mainstay of villainy the Circus of Crime debuts in ‘The Ringmaster’. The Hulk goes on an urban rampage in #4’s first tale ‘The Monster and the Machine’ before aliens and Commies combine in the second escapade ‘The Gladiator from Outer Space!’

The Incredible Hulk #5 is a joyous classic of Kirby action, introducing immortal Tyrannus and his underworld empire in ‘The Beauty and the Beast!’ whilst those pesky Commies came in for another drubbing when the Jolly Green freedom-fighter prevents the invasion of Lhasa in ‘The Hordes of General Fang!’

Lee grasped early on the commercial impact of cross-pollination and – presumably aware of disappointing sales – inserted the Jade Juggernaut into his top selling title next.

Fantastic Four #12 (March 1963) featured an early crossover as the team were asked to help the US army capture ‘The Incredible Hulk’: a tale from Lee, Kirby & Ayers packed with intrigue, action and bitter irony as  series of spectacularly destructive sabotage incidents puts the heroes on the trail of a monster when they should have been looking at spies…

Despite the sheer verve and bravura of these simplistic classics – some of the greatest, most rewarding comics nonsense ever produced – the Hulk series was not doing well, and Kirby moved on to more appreciated arenas. Steve Ditko handled all the art chores for #6: another full-length epic and an extremely engaging one.

‘The Incredible Hulk Vs the Metal Master’ has astounding action, sly and subtle sub-plots and a thinking man’s resolution, but nonetheless the title died with the issue, also dated March.

Another comic debuted that month and offered a life line to the floundering Emerald Outcast.  ‘The Coming of the Avengers’ is one of the cannier origin tales in comics. Instead of starting at a zero point and acting as if the reader knew nothing, creators Lee, Kirby & Ayers assumed that interested parties had at least a passing familiarity with Marvel’s other titles, and wasted very little time or energy on introductions in the premiere issue.

In Asgard Loki, god of evil, is imprisoned on a dank islet but still craves vengeance on his step-brother mighty Thor. Observing Earth the villain finds the monstrous Hulk and engineers a situation wherein the man-brute goes on a rampage, hoping to trick the Thunder God into battling the bludgeoning brute. When sidekick Rick Jones radios the Fantastic Four for assistance, Loki diverts the transmission so they cannot hear it and expects his mischief to quickly blossom. However. other heroes pick up the SOS – namely Iron Man, Ant Man and the Wasp.

As the costumed champions on the desert converge to search for the Hulk, they realize something’s amiss…

This terse and compelling yarn is Lee & Kirby at their bombastic best, and one of the greatest stories of the Silver Age (it’s certainly high in my own top ten Marvel Tales of all time!) and is promptly followed by ‘the Space Phantom’ (Lee, Kirby & Reinman), another unforgettable epic, in which an alien shape-stealer almost destroys the group from within.

Ever-changing, the tale ends with the volatile Hulk quitting the team only to return in #3 as a villain in partnership with ‘Sub-Mariner!’ This globe-trotting romp delivered high energy thrills and one of the best battle scenes in comics history.

Three months later Fantastic Four #25 featured a cataclysmic clash that had young heads spinning in 1964 and pretty much ever since. Inked by George Roussos, ‘The Hulk Vs The Thing’ and concluding tale ‘The Avengers Take Over!’ in FF #26 offered a fast-paced, all-out Battle Royale as the disgruntled man-monster comes to New York in search of sidekick Rick with only an injury-wracked FF in the way of his destructive rampage.

A definitive moment in the character development of the Thing, the action amplifies when a rather stiff-necked and officious Avengers team horns in claiming jurisdictional rights on “Bob” Banner (this tale is plagued with pesky continuity errors which would haunt Lee for decades) and his Jaded Alter Ego.

Notwithstanding the bloopers, this is one of Marvel’s key moments and still a visceral, vital read.

Over in Avengers #5, ‘The Invasion of the Lava Men!’ (Lee, Kirby & Reinman) revealed another incredible romp as Earth’s Mightiest battled superhuman subterraneans and a lethally radioactive mutating mountain with the unwilling assistance of the Hulk… his last appearance there for many months…

The next cameo came in Amazing Spider-Man #14 (July 1964): an absolute milestone as a hidden criminal mastermind debuted by manipulating a Hollywood studio into making a movie about the wall-crawler. Even with guest-star opponents such as the Enforcers the Incredible Hulk steals all the limelight in ‘The Grotesque Adventure of the Green Goblin’ (by Lee & Ditko) which is only otherwise notable for introducing Spider-Man’s most perfidious and flamboyant enemy (sarcasm alert!).

The second chapter of the man-monster’s career was about to take off and Tales to Astonish #59 (September) offered a bombastic prologue as ‘Enter: The Hulk!’ (Lee, Ayers & Reinman) sees the Avengers inadvertently inspiring Giant-Man to hunt down the Green Goliath.

Although the Human Top devilishly engineered that blockbusting battle, Lee was the real mastermind, as with the next issue The Hulk began starring in his own series and on the covers whilst Giant-Man’s adventures shrank back to a dozen or so pages.

This wonderfully economical compendium of wonders closes with the lead story from Journey into Mystery #112 (January 1965). ‘The Mighty Thor Battles the Incredible Hulk!’ is a glorious gift to all those fans who perpetually ask “Who’s stronger…?” Possibly Kirby and Chic Stone’s finest artistic moment, it details a private duel between the two super-humans that occurred during that free-for-all between Earth’s Mightiest, Sub-Mariner and Ol’ Greenskin in Avengers #3. The raw power of that tale is a perfect exemplar of what makes the Hulk work and would an ideal place to close proceedings but fans and art lovers can enjoy further treats in the form of assorted House Ads, original artwork by Kirby and Ditko, a gallery of classic Kirby covers modified by painter Dean White (originally seen on assorted Marvel Masterworks editions), plus reproduced Essentials collection and Omnibus covers by Bruce Timm and Alex Ross…

Hulk Smash! He always was and with material like this he always will be.
© 1962, 1963, 1964, 1965, 2016 Marvel Characters, Inc. All rights reserved.

Amazing Spider-Man Masterworks volume 9


By Stan Lee, John Romita, John Buscema, Jim Mooney & various (Marvel)
ISBN: 978-0-7851-2462-7

Amazing Spider-Man was always a comicbook that matured with – or perhaps just slightly ahead of – its fan-base.

This nail-biting ninth full-colour compilation of chronological Arachnoid Amazement sees the World’s Most Misunderstood Hero navigate another rocky period of transformation and tribulation on the road to becoming the world’s most popular comics character.

After a shaky start The Amazing Spider-Man quickly became a popular sensation with kids of all ages. Before too long the quirky, charming, thrillingly action-packed comics soap-opera would become the model for an entire generation of younger heroes impatiently elbowing aside the staid, (relatively) old thirty-something mystery-men of previous publications and hallowed tradition.

Smart-but-alienated Peter Parker was bitten by a radioactive spider during a school trip. Discovering strange superhuman abilities which he augmented with his own natural chemistry, physics and engineering genius, the kid did what any lonely, geeky nerd would do with such newfound prowess: he tried to cash in for girls, fame and money.

Making a costume to hide his identity in case he made a fool of himself, Parker became a minor media celebrity – and a criminally self-important one. To his eternal regret, when a thief fled past him one night he didn’t lift a finger to stop him, only to find when he returned home that his guardian uncle Ben Parker had been murdered.

Crazed and vengeful, Peter hunted the assailant who’d made his beloved Aunt May a widow and killed the only father he had ever known, discovering, to his horror, that it was the self-same felon he had neglected to stop. His irresponsibility had resulted in the death of the man who raised him, and the traumatised boy swore to forevermore use his powers to help others…

Since that night, the Wondrous Wallcrawler has tirelessly battled miscreants, monsters and madmen, with a fickle, ungrateful public usually baying for his blood even as he perpetually saves them…

The rise and rise of the Amazing Arachnid increased pace as the Swinging Sixties drew to a close and, by the time of the tales collected herein (re-presenting Amazing Spider-Man #78-87, originally released between November 1969 and August 1970), Peter and his ever-expanding cast of comrades were practically household names and the darlings of college campuses and the media intelligentsia throughout America and the world.

Stan Lee’s scripts tapped into the always-evolving zeitgeists of the times and the deft use of soap opera plots kept older readers glued to the series even if the bombastic battle sequences didn’t.

One of those American “time-ghosts” was crime and gangsterism and dependence on flamboyant costumed super-foes as antagonists was finely balanced with the usual suspect-pool of thugs, hoods and mob-bosses, but these were not the individual gangs of the Ditko days.

Now Organised Crime and was a huge cultural touchstone with comics cashing in on modern movies, novels and headlines…

Illustrated by John Buscema, Amazing Spider-Man#78 opens this volume with ‘The Night of the Prowler!’ featuring John Romita Junior’s first ever creator-credit for “suggesting” dissatisfied young black man Hobie Brown who briefly turned his frustrations and innate inventive genius to costumed criminal purposes until set straight by Spider-Man in the concluding ‘To Prowl No More!’

With #80 a policy of single-issue adventures was instituted: short, snappy stand-alone thrillers delivering maximum thrills and instant satisfaction. First off was a return for the wallcrawler’s very first super-foe as ‘On the Trail of the Chameleon!’ found the criminal charlatan indulging in a spree of robberies after which an action-packed if somewhat ridiculous punch-up resulted from ‘The Coming of The Kangaroo!’, including a clear contender for daftest origin of all time…

Romita senior then returned as penciller for ‘And Then Came Electro!’ with the voltaic villain attempting to slaughter Spidey live on national TV.

There were big revelations about the Kingpin in the 3-part saga that featured in issues #83-85 with the introduction of ‘The Schemer’ (Lee, Romita sr. & Mike “DeMeo” Esposito): a mysterious but extremely well-heeled criminal outsider determined to destroy the power of the sumo-like crime-lord and usurp his position in the underworld.

‘The Kingpin Strikes Back!’ (Romita sr., Buscema & Mooney) and ‘The Secret of the Schemer!’ changed the Marvel Universe radically, not just by disclosing some of the family history of one of the company’s greatest villains, but also by sending Peter Parker’s eternal gadfly Flash Thompson back to a dubious fate in Vietnam.

It wasn’t the kid’s first tour but now the war was becoming unpopular at home and the bombastic jingoism of earlier issues was being replaced by more contemplative concern as evoked by authorial mouthpiece Stan Lee…

‘Beware… the Black Widow!’ then gave Romita and Mooney a chance to redesign and relaunch the Soviet super-spy and sometime-Avenger in an enjoyable if highly formulaic misunderstanding/clash-of-heroes yarn with an ailing Spider-Man never really endangered. The entire episode was actually a promotion for the Widow’s own soon-to-debut solo series…

The dramas conclude for now with ‘Unmasked at Last!’ which found Parker, convinced that his powers were fading forever and suffering from a raging fever, exposing his secret identity to all the guests at his girlfriend’s party…

Using the kind of logic and subterfuge that only works in comics and sitcoms, Parker and Hobie Brown convinced everybody that it was only a flu-induced aberration…

This is another fabulous celebration of an important teen icon and symbol. Spider-Man at this time became a permanent, unmissable part of many youngsters’ lives and did so by living a life as close to theirs as social mores and the Comics Code would allow. Blending cultural authenticity with spectacular art, and making a dramatic virtue of the awkwardness, confusion and sense of powerlessness that most of the readership experienced daily, resulted in an irresistibly intoxicating read, delivered in addictive emotionally-intense instalments, but none of that would be relevant if the stories weren’t so compellingly entertaining. This book is Stan Lee’s Marvel and Spider-Man at their peak.
© 1969, 1970, 2014 Marvel Character, Inc. All rights reserved.

Amazing Spider-Man Masterworks volume 8


By Stan Lee, John Romita, John Buscema, Ross Andru, Jim Mooney, Bill Everett & various (Marvel)
ISBN: 978-0-7851-2074-2) (HB)                   978-0-7851-8807-0 (TPB)

This eighth astounding full-colour compilation of webspinning wonderment again follows the World’s Most Misunderstood Hero through deadly dangers and romantic rollercoasters as the second great era of Amazing Arachnid artists moved inevitably to a close. Although the elder John Romita would remain closely connected to Spider-Man’s adventures for some time yet, these tales would be amongst his last long run as lead illustrator on the series.

After a shaky start – suffering cancellation before his first issue – The Amazing Spider-Man quickly became a popular sensation with kids of all ages. Before long the quirky, charming, thrillingly action-packed comics soap-opera became the model for an entire generation of younger heroes impatiently elbowing aside the staid, (relatively) old thirty-something mystery-men of previous publications and hallowed tradition.

Peter Parker was a smart-but-alienated kid bitten by a radioactive spider during a school science trip. Discovering astonishing arachnid abilities – which he augmented with his own natural chemistry, physics and engineering genius – the kid did what any lonely, geeky nerd would do with such newfound prowess: he tried to cash in for girls, fame and money.

Making a costume to hide his identity in case he made a fool of himself, Parker became a minor media celebrity – and a criminally self-important one. To his eternal regret, when a thief fled past him one night he didn’t lift a finger to stop him, only to find when he returned home that his guardian uncle Ben Parker had been murdered.

Crazed and vengeful, Peter hunted the assailant who’d made his beloved Aunt May a widow and killed the only father he had ever known, discovering, to his horror, that it was the self-same felon he had neglected to stop. His irresponsibility had resulted in the death of the man who raised him, and the traumatised boy swore to forevermore use his powers to help others…

Since that night, the Wondrous Wallcrawler has tirelessly battled miscreants, monsters and madmen, with a fickle, ungrateful public usually baying for his blood even as he perpetually saves them…

The rise and rise of the Amazing Arachnid accelerated as the Swinging Sixties drew to a close and, by the time of the tales collected herein (Amazing Spider-Man#68-77 originally released between January-October 1969, plus an obscure thriller from Marvel Super-Heroes #14), Peter and his ever-expanding cast of comrades were on the way to being household names as well as the darlings of college campuses and the media intelligentsia.

Stan Lee’s scripts were completely in tune with the times – as observed by most kids’ parents at least – and the increasing use of soap opera plots kept older readers glued to the series even if the bombastic battle sequences didn’t.

Thematically, gangsterism dominated (probably due to the contemporary buzz caused by Mario Puzo’s novel The Godfather) and an increasing use of mystery plots balanced a dependence on costumed super-foes as antagonists: all finely balanced with the usual suspect-pool of thugs, hoods and mob-bosses, but these were not the individual gangs of the Ditko days.

Now Organised Crime and Mafia analogue The Maggia were the big criminal-cultural touchstone as comics caught up with modern movies and headlines.

Issue #68 (by Lee, Romita & Jim Mooney) started a lengthy saga featuring the pursuit of an ancient stone tablet by various nefarious forces, beginning with The Kingpin who exploited a topical moment of student dissent to foment a ‘Crisis on the Campus!’

When a seemingly inevitable riot erupted, the Big Bad tried to swipe the artefact, leaving a few teenagers we’re all too familiar with looking very guilty…

Meanwhile Peter Parker, already struggling with debt, a perpetually at-Death’s-Door Aunt May, relationship grief with girlfriend Gwen Stacy and no time to study, was accused of not being involved enough by his fellow students…

During this period scripter Lee increasingly tapped into the student unrest of the times in various Marvel titles and ‘Mission: Crush the Kingpin!’ further tightened the screws as the student unrest exploded into violence whilst the corpulent crime czar incriminated Spider-Man in the tablet’s theft.

Hounded and harried in ‘Spider-Man Wanted!’ the web warrior nevertheless managed to defeat the Kingpin only to (briefly) believe himself a killer after he attacked personal gadfly J. Jonah Jameson in a fit of rage; causing an apparent heart attack in the obsessive, hero-hating publisher.

At his lowest ebb, and now stuck with the tablet, Parker is attacked by sometime-Avenger Quicksilver in ‘The Speedster and the Spider!’ (#71), before John Buscema signs on as layout-man in ‘Rocked by the Shocker!’

No sooner does Spider-Man leave the stone tablet with Gwen’s dad – former Police Chief Stacy – than the vibrating villain attacks, pinching the petrified artefact and precipitating a frantic underworld civil war. The Maggia dispatch brutal over-sized enforcer Man-Mountain Marko to retrieve it at all costs in ‘The Web Closes!’ (Lee, Buscema, Romita & Mooney) as upstart lawyer Caesar Cicero makes his long-anticipated move to depose aged Don of Dons Silvermane

However, the frail, elderly crime-lord knows the true secret – if not the methodology – of the tablet. To that end, he abducts biologist Curt Connors and his family to reconstruct the formula hidden on the stone and bring him ultimate victory.

Unfortunately, nobody but Spider-Man knows Connors is also the lethal Lizard and that the slightest stress might unleash the reptilian monster within to once more threaten all humanity. ‘If this be Bedlam!’ (Romita & Mooney) leads directly into ‘Death Without Warning!’ as the decrypted power of the tablet causes a cataclysmic battle that seemingly destroys one warring faction forever, decimating the mobs, but also freeing a far more deadly threat…

Amazing Spider-Man #76 sees John Buscema become full penciller with ‘The Lizard Lives!’ whilst concluding chapter ‘In the Blaze of Battle!’ witnesses the webspinner trying to defeat, cure and keep the tragic secret of his friend Connors, all whilst preventing guest-starring Human Torch Johnny Storm exterminating the marauding rogue reptile forever…

Closing this comics compendium is a one-off yarn from Marvel Super-Heroes #14 (May 1968). ‘The Reprehensible Riddle of the… The Sorcerer!’ actually debuted a year previously in the try-out title and reads to me like an inventory tale rushed out to fill a deadline gap or printed just before its “use-by” date expired. Nonetheless, as crafted by Lee, Ross Andru & Bill Everett, it offers a different spin on the wallcrawler as an enigmatic psychic targets Spider-Man, using psionic strikes and voodoo tricks to draw the hero to New Orleans and a death duel with a synthetic, science-tinged homunculus…

Spider-Man became a permanent unmissable part of many teenagers’ lives at this time and did so by living a life as close to theirs as social mores and the Comics Code would allow. Blending cultural authenticity with glorious narrative art, and making a dramatic virtue of the awkwardness, confusion and sense of powerlessness most of the readership experienced daily, resulted in an irresistibly intoxicating read, delivered in addictive soap-opera slices, but none of that would be relevant if the stories weren’t so compellingly entertaining.

This book is Marvel and Spider-Man at their peak. Why not see why…?
© 1968, 2012 Marvel Characters, Inc. All rights reserved.

Amazing Spider-Man Masterworks volume 7


By Stan Lee, John Romita, Larry Lieber, Don Heck, Jim Mooney & various (Marvel)
ISBN: 978-0-7851-1637-0 (HB)                    978-0-7851-5935-3 (TPB)

Amazing Spider-Man was always a comicbook that matured with – or perhaps just slightly ahead – of its fan-base.

This seventh superbly scintillating full-colour compilation of chronological webspinning wonderment sees the World’s Most Misunderstood Hero through another rocky period of transformation as the second great era of Amazing Arachnid artists moved inevitably to a close. Although the elder John Romita would remain closely connected to the Wall-Crawler’s adventures for a little time yet, these tales would be amongst his last long run as lead illustrator on the series.

After a shaky start The Amazing Spider-Man quickly became a popular sensation with kids of all ages. Before too long the quirky, charming, thrillingly action-packed comics soap-opera would become the model for an entire generation of younger heroes impatiently elbowing aside the staid, (relatively) old thirty-something mystery-men of previous publications and hallowed tradition.

You know the story: Peter Parker was a smart-but-alienated kid bitten by a radioactive spider during a school science trip. Discovering he’d developed astonishing arachnid abilities – which he augmented with his own natural chemistry, physics and engineering genius – the kid did what any lonely, geeky nerd would do with such newfound prowess: he tried to cash in for girls, fame and money.

Making a costume to hide his identity in case he made a fool of himself, Parker became a minor media celebrity – and a criminally self-important one. To his eternal regret, when a thief fled past him one night he didn’t lift a finger to stop him, only to find when he returned home that his guardian uncle Ben Parker had been murdered.

Crazed and vengeful, Peter hunted the assailant who’d made his beloved Aunt May a widow and killed the only father he had ever known, discovering, to his horror, that it was the self-same felon he had neglected to stop. His irresponsibility had resulted in the death of the man who raised him, and the traumatised boy swore to forevermore use his powers to help others…

Since that night, the Wondrous Wallcrawler tirelessly battled miscreants, monsters and madmen, with a fickle, ungrateful public usually baying for his blood even as he perpetually saves them…

The rise and rise of the Amazing Arachnid increased pace as the Swinging Sixties drew to a close and, by the time of the tales collected herein (re-presenting Amazing Spider-Man #62-67, Annual #5 and oversized mainstream magazine experiment Spectacular Spider-Man #1-2, all originally released between July and December 1968), Peter and his ever-expanding cast of comrades were on the way to being household names as well as the darlings of college campuses and the media intelligentsia.

Stan Lee’s scripts were completely in tune with the times – as seen by most kids’ parents at least – and the increasing use of soap opera plots kept older readers glued to the series even if the bombastic battle sequences didn’t.

Thematically, there’s still a large percentage of old-fashioned crime and gangsterism and an increasing use of mystery plots. Dependence on costumed super-foes as antagonists was finely balanced with the usual suspect-pool of thugs, hoods and mob-bosses, but these were not the individual gangs of the Ditko days. Now Organised Crime and Mafia analogue The Maggia were the big criminal-cultural touchstone as comics caught up with modern movies and headlines.

First however from July 1968 comes Spectacular Spider-Man #1 by Lee, John Romita & Jim Mooney: an extended political thriller with charismatic reformer Richard Raleigh ferociously campaigning to become Mayor thus targeted and hunted by a brutish monster seemingly determined to keep the old political machine in place at all costs…

Rendered in moody wash tones, the drama soon disclosed a sinister plotter behind the campaign of terror… but his identity was the last one Spidey expected to expose…

Also included in the magazine and here was a retelling of the hallowed origin tale – ‘In the Beginning…’ by Lee, with Larry Lieber pencils and inks-&-tones added by the great Bill Everett.

Back in the four-colour world Amazing Spider-Man #62 demanded ‘Make Way for …Medusa!’: Lee, Romita, Don Heck & Mike Esposito/DeMeo supplied a fresh change-of-pace yarn as the wallcrawler stumbles into combat with the formidable Inhuman due to the machinations of a Madison Avenue ad man, after which ‘Wings in the Night!’ in #63 saw the original elderly Vulture return to crush his usurper Blackie Drago, and then take on Spidey for dessert.

The awesome aerial angst concluded with ‘The Vultures Prey’ which led to another art-change (with the sumptuous heavy line-work of Jim Mooney briefly replacing the workmanlike Heck & Esposito) in #65 as Spider-Man was arrested and had to engineer ‘The Impossible Escape!’ from a Manhattan prison, foiling a mass jailbreak along the way.

A psychotic special-effects mastermind returns seeking loot and vengeance in #66’s ‘The Madness of Mysterio!’ (Romita, Heck & DeMeo) as the master of FX illusion engineered his most outlandish stunt, whilst in the background the amnesiac Norman Osborn slowly began to regain his memory.

Although the wallcrawler is subjected to a hugely bizarre form of mind-bending it nevertheless results in an all-out action-packed brawl (rendered by Romita & Mooney) entitled ‘To Squash a Spider!’. Perhaps more interestingly, this yarn introduced Randy Robertson, college student son of the Daily Bugle’s city editor and one of the first young black regular roles in Silver Age comics. Lee and his staff were increasingly making a stand on Civil Rights issues at this time of unrest and Marvel would blaze a trail for African American characters in their titles. There would also be a growth of student and college issues during a period when American campuses were coming under intense media scrutiny…

The Amazing Arachnid’s magazine experiment then concludes with The Spectacular Spider-Man #2 (November 1968). To offset disappointing sales, Marvel had switched to a smaller size and added colour, but it was to be the last attempt to secure older-reader shelf-space until the early 1970s. At least the story was top-rate…

Following monochrome recap ‘The Spider-Man Saga’ Lee, Romita & Mooney dealt with months of foreshadowing by finally revealing how Norman Osborn shook off his selective amnesia and returned to full-on super-villainy in ‘The Goblin Lives!’

Steeped in his former madness and remembering Peter Parker was Spider-Man, Osborn plays cat and mouse with his foe, threatening all the hero’s loved ones until a climactic battle utilising hallucinogenic weapons again erases the Goblin personality… for the moment…

This volume closes with Amazing Spider-Man Annual #5 by Lee and his brother Larry Lieber (with inking from Esposito – still in his clandestine “Mickey DeMeo” guise) and clears up a huge mystery in the webspinner’s life by revealing the secret behind the deaths of ‘The Parents of Peter Parker!’.

Played as an exotic spy-thriller the tale took Spider-Man to the Algerian Casbah and a confrontation with the Red Skull. Nit-pickers and continuity-mavens will no doubt be relieved to hear that the villain was in fact retconned later and designated as the second Soviet master-villain who featured in the Captain America revival of 1953-1954, and not the Nazi original that Lee and Co had clearly forgotten was in “suspended animation” throughout that decade when writing this otherwise perfect action romp and heartstring-tugging melodrama…

That annual also provided a nifty Daily Bugle cast pin-up, a speculative sports feature displaying the advantages of Spider powers, a NYC street-map of the various locations where the Spidey saga unfolded plus a spoof section displaying how the Wallcrawler would look if published by Disney/Gold Key, DC or Archie Comics, or drawn by Al “Li’l Abner” Capp, Chester “Dick Tracy” Gould and Charles “Peanuts” Schulz.

It all wraps up with ‘Here We Go A-Plotting!’: a comedic glimpse at work in the Marvel Bullpen, uncredited but unmistakably drawn by the marvellous Marie Severin…

Blending cultural authenticity with stunning narrative art, and making a dramatic virtue of the awkwardness, confusion and sense of powerlessness that most of the readership experienced daily, resulted in an irresistibly intoxicating read, delivered in addictive soap-opera instalments, but none of that would be relevant if the stories weren’t so compellingly entertaining.

This book is Marvel and Spider-Man at their peak. Wish you were here?
© 1968, 2012 Marvel Characters, Inc. All rights reserved.

Amazing Spider-Man Marvel Masterworks volume 6


By Stan Lee, John Romita, Larry Lieber, Don Heck & various (Marvel)
ISBN: 978-0-7851-1362-2 (HB)                    978-1-3023-7876-9 (HB)

After a shaky start The Amazing Spider-Man quickly became a popular sensation with kids of all ages, rivalling the creative powerhouse that was Fantastic Four. Before too long the quirky, charming, thrillingly action-packed comics soap-opera would become the model for an entire generation of younger heroes impatiently elbowing aside the staid, (relatively) old thirty-something mystery-men of previous publications and hallowed tradition.

You know the story: Peter Parker was a smart-but-alienated kid bitten by a radioactive spider during a school science trip. Discovering he’d developed astonishing arachnid abilities – which he augmented with his own natural chemistry, physics and engineering genius – the kid did what any lonely, geeky nerd would do with such newfound prowess: he tried to cash in for girls, fame and money.

Making a costume to hide his identity in case he made a fool of himself, Parker became a minor media celebrity – and a criminally self-important one. To his eternal regret, when a thief fled past him one night he didn’t lift a finger to stop him, only to find when he returned home that his guardian uncle Ben Parker had been murdered.

Crazed with a need for vengeance, Peter hunted the assailant who’d made his beloved Aunt May a widow and killed the only father he had ever known, discovering, to his horror, that it was the self-same felon he had neglected to stop. His irresponsibility had resulted in the death of the man who raised him, and the traumatised boy swore to forevermore use his powers to help others…

Since that night, the Wondrous Wallcrawler has tirelessly battled miscreants, monsters and madmen, with a fickle, ungrateful public usually baying for his blood even as he perpetually saves them…

The rise and rise of the Amazing Arachnid increased pace as the Swinging Sixties unfolded and, by the time of the tales in this sixth sterling celebration (re-presenting Amazing Spider-Man #51-61 and Annual #4, originally released between August 1967 and June 1968), Peter and his ever-expanding cast of cohorts were on the way to being household names as well as the darlings of college campuses and the media intelligentsia.

Issue #50 had introduced one of Marvel’s greatest villains in the first of a 3-part yarn that saw the blooming of romance between Parker and college classmate Gwen Stacy and re-established Spidey’s war on cheap thugs and common criminals (a key component of the hero’s appeal was that no criminal was too small for him to bother with).

The saga also saw a crisis of conscience force him to quit before resolving to take up his heroic burden once more.

This volume opens with the second chapter as the wallcrawler is trapped ‘In the Clutches of… the Kingpin!’ (by Lee & Romita), battling an army of thugs to save hostages Fred Foswell and J. Jonah Jameson but ultimately losing a fateful fight with the big boss before tragically triumphing in concluding clash ‘To Die a Hero!’

This gang-busting triptych saw Romita relinquish the inking of his art to Mike Esposito (moonlighting from DC as Mickey DeMeo).

Amazing Spider-Man Annual #4 follows as Lee – with his brother Larry Lieber & Esposito handling the art chores – crafts an epic battle-saga wherein Spidey and the Human Torch are tricked into appearing in a movie. Sadly ‘The Web and the Flame!’ is just a deviously diabolical scheme to kill them orchestrated by old enemies The Wizard and Mysterio, but the titanic teens are up to the task of trashing their attackers…

From the same issue – and all courtesy of Lieber – come pictorial fact-features ‘The Coffee Bean Barn!’ face-checking the then-current Spider-Man regulars, sartorial secrets exposed in ‘What the Well-Dressed Spider-Man Will Wear’ before superpowers are scrutinised in ‘Spidey’s Greatest Talent’.

Also included are big pin-ups of our hero testing his strength against Marvel’s mightiest good guys, a double-page spread ‘Say Hello to Spidey’s Favorite Foes!’ plus another 2-page treat as we enjoy ‘A Visit to Peter’s Pad!’

A new multi-part saga began in #53 with ‘Enter: Dr. Octopus’ as the many-tentacled madman tries to steal a devastating new piece of technology. After being soundly routed the madman goes into hiding as a lodger at Aunt May’s house in ‘The Tentacles and the Trap!’, before regrouping and finally succeeding in ‘Doc Ock Wins!’

He even convinces a mind-wiped webslinger to join him before the astonishing conclusion in ‘Disaster!’ as, even bereft of memory, the Amazing Arachnid turns on his sinister subjugator and saves the day…

Shell-shocked and amnesiac, Spider-Man is lost in New York in #57 (with lay-outs by Romita, and pencils from the reassuring reliable Don Heck) until he clashes with Marvel’s own Tarzan clone in ‘The Coming of Ka-Zar!’ whilst in the follow-up ‘To Kill a Spider-Man!’ vengeance-crazed roboticist Professor Smythe convinces Jonah Jameson to finance another murderous mechanical Spider-Slayer

With Heck still in the artist’s chair, Amazing Spider-Man #59 sees the hero regain his memory and turn his attention to a wave of street-crime in ‘The Brand of the Brainwasher!’ as a new mob-mastermind begins taking control of the city by mind-controlling city leaders and prominent cops – including Gwen’s dad.

The drama continues as the schemer is revealed to be one of Spidey’s old foes in ‘O, Bitter Victory!’ The revelation creates big problems for Peter and Gwen before concluding part ‘What a Tangled Web We Weave…!’ sees our hero save the day but still stagger away more victim than victor…

Spider-Man became a permanent and unmissable part of many teenagers’ lives at this time and did so by living a life as close to theirs as social mores and the Comics Code would allow.

Blending cultural authenticity with stunning narrative art, and making a dramatic virtue of the awkwardness, confusion and sense of powerlessness that most of the readership experienced daily resulted in an irresistibly intoxicating read, delivered in addictive soap-opera instalments, but none of that would be relevant if the stories weren’t so compellingly entertaining.

This book is Stan Lee’s Marvel and Spider-Man at their peak. You should be here too…
© 1967, 1968, 2015 Marvel Characters, Inc. All rights reserved.

Marvel Adventures Avengers: Thor and Captain America


By Paul Tobin, Scott Gray, Todd Dezago, Ronan Cliquet, Ron Lim, Lou Kang & various (Marvel)
ISBN: 978-0-7851-5584-3

Since its earliest days Marvel has always courted young comicbook consumers. In 2003 the company instituted the Marvel Age imprint to update and reframe classic original tales by Stan Lee, Jack Kirby, Steve Ditko and others for a fresh-faced 21st century readership.

The experiment was tweaked in 2005, becoming Marvel Adventures. The tone was very much that of the company’s burgeoning TV cartoon franchises, in execution if not name. Titles bearing the Marvel Adventures brand included Spider-Man, Fantastic Four, Super Heroes, The Avengers and Hulk. These iterations ran until 2010 when they were cancelled and replaced by new volumes of Marvel Adventures: Super Heroes and Marvel Adventures: Spider-Man.

Almost all of those yarns have been collected in digest-sized compilations such as this one which gathers a selection of fantastic feats starring the God of Thunder or Sentinel of Liberty and their friends, comprising four all-ages tales from the second volume of Marvel Adventures Super Heroes #13-16 (spanning June-September 2011).

The action opens with a mythological masterpiece by Paul Tobin, Ronan Cliquet & Amilton Santos wherein plucky novice hero Nova is invited by Avenging comrades Thor and Valkyrie to accompany them on an annual errand for Odin the All-Father.

In the distant past when Asgardians warred with Trolls, a godling messenger named Glane failed in his mission and was banished to the ghastly Fields of the Fallen to pay penance by continually battling the Golden Realm’s vilest enemies.

Periodically Thor has been sent to add new tasks to the sinning failure’s heavy burden, and this year as the Thunderer and Valkyrie ready themselves for the trip, they invite the starstruck Nova to tag along.

However, as the trio battle their way through horrific monsters and overwhelming odds, Nova finds himself increasingly uncomfortable with the sentence meted out to Glane and even begins to doubt the motives of his immortal mentors. All that changes once he meets and battles beside the convicted penitent…

Originating in MASH #14, ‘Out of Time!’ is by Todd Dezago, Ron Lim & Scott Koblish (inspired by Gerry Conway & Ross Andru’s tale from the original Marvel Team-Up #7) and sees the Lord of Storm intercepting Spider-Man after the wall-crawler is blasted high into the sky whilst battling raving maniac the Looter.

That happy coincidence occurs just a bizarre force freezes time around them. When the heroes discover that only they have escaped a devastating weapon deployed by Trollish tyrant Kryllk the Conqueror to paralyze and overwhelm both Asgard and the mortal plane, they must divide their strength to simultaneously smash the conqueror in both Manhattan and Asgard if they are to set time running free again…

Captain America takes the spotlight in #15 as ‘Back in Time’ (Tobin, Cliquet & Santos) finds the Star-Spangled Avenger battling Neanderthals with ray-guns in a National Forest after tracking down rogue geneticists who have stolen a huge amount of plutonium.

A mere mile away, Peter Parker’s girlfriend Sophia Sanduval is getting back to nature and chilling with her furry, scaly and feathered friends. As Chat, the mutant teen’s power to communicate with animals makes her a crucial component of the mystery-solving Blonde Phantom Detective Agency, but even she has never seen anything like the wave of extinct creatures which appear after Cap begins battling the tooled-up cavemen.

Soon she has been briefed on the deadly experiments of rogue technologist Jerrick Brogg – whose ambition is to build an army out of revived extinct creatures – and swears to help Cap put the maniac away and save all the beasts he has recreated from short painful lives of terror and brutal exploitation…

Wrapping up the action comes ‘Stars, Stripes and Spiders!’ by Dezago, Lou Kang & Pat Davidson (based on Len Wein & Gil Kane’s tale from Marvel Team-Up #13).

When a certain wall-crawling high-school student and occasional masked hero stumbles into Captain America tackling an AIM cadre stealing super-soldier serum, the nervous lad learns a few things about the hero game from the legendary guy who wrote the book. Sadly, not making that lesson any easier is petrifying super-villain Grey Gargoyle, whose deadly touch almost ends Spidey’s homework worries – and continued existence – forever…

Never the success the company hoped, the Marvel Adventures project was superseded in 2012 by specific comics tied to those Disney XD television shows designated as “Marvel Universe cartoons”, but these collected stories are still an intriguing, amazingly entertaining and superbly accessible means of introducing characters and concepts to kids born sometimes three generations or more away from the originating events.

Fast, furious, funny and enthralling, these riotous mini-epics are extremely enjoyable yarns, although parents should note that some of the themes and certainly the level of violence might not be what everybody considers “All-Ages Super Hero Action”…
© 2011 Marvel Characters, Inc. All rights reserved.