My Top 5 Issues/Storylines from Lee and Ditko's Amazing Spider-Man Run

I've made my love and adoration of Stan Lee and Steve Ditko's run on The Amazing Spider-Man incredibly clear on this blog. I'm sure that nostalgia plays no small part in that; despite being born in the late 90s, I was first acquainted with the dazzling world of Spider-Man comics through the issues created by Lee and Ditko, and they've remained a firm favourite ever since. Returning to these stories is like coming home, or receiving a warm hug. I must have read and re-read Lee and Ditko Spider-Man more than any other piece of literature - comics are a different medium, I'm aware, but let's not split hairs. 

So yes, whilst nostalgia is very much a part of it, I always like to argue that if you feel nostalgic for a piece of media, then there must have been some level of quality to that piece of media to begin with, or you would never have been drawn to it in the first place. Lee and Ditko created something truly unique and absolutely wonderful, their stories still holding up well to this very day. Obviously, it's supremely difficult for me to narrow down just five favourites from thirty-eight issues - plus two annuals - and it kills me that so many brilliant stories don't feature on this list, but somehow I forced myself to do it, and I present them here to you. If you've never read any of Lee and Ditko's run before, consider these a good primer, and I hope they encourage you to seek out more. A note: some of the spots on this list are occupied my multiple issues rather than just one; I'm counting multi-part stories as one spot, otherwise it would just be a bit unfair.

5. The Crime-Master Saga (The Amazing Spider-Man #26-27)

Probably the most Steve Ditko-esque entry on this list, the Crime-Master two-parter is an absolute masterstroke when it comes to the kind of intricate plotting, shady characters, masked mystery villains, and thrilling, no-holds-barred battles between Spider-Man and a room full of goons that Ditko did so well. The Crime-Master is a sorely underrated villain, and any appearance by the original Green Goblin is never a bad thing.

Full Review (ASM #26): https://crawlingthewallsblog.blogspot.com/2024/07/the-amazing-spider-man-vol-1-26.html

Full Review (ASM #27): https://crawlingthewallsblog.blogspot.com/2024/07/the-amazing-spider-man-vol-1-27.html

4. "Turning Point" (The Amazing Spider-Man #11)

Resolving a cliff-hanger that had me on tenterhooks as a kid, this remains one of my all-time favourite Spidey stories, and one that I feel is unfairly overlooked. You've got Doctor Octopus in only his second appearance, tons of excitement and intrigue, and a tragic end for not just Spider-Man, but for someone he cares for as well. An absolute classic.

Full Review: https://crawlingthewallsblog.blogspot.com/2024/07/the-amazing-spider-man-11.html

3. "The End of Spider-Man!" (The Amazing Spider-Man #18)

Ditko took a tremendous risk coming up with this issue: a story in which Spider-Man doesn't actually fight anyone; he even runs away from Sandman in full view of passers-by. A risk it may have been - and one that Stan was allegedly unkeen on - but Ditko's bold experiment worked wonders, and forms the template by which every other 'Peter gives up being Spider-Man' story is based on, and personally, I don't think any have lived up to the standard set by this original.

Full Review: https://crawlingthewallsblog.blogspot.com/2024/07/the-amazing-spider-man-18.html

2. "The Sinister Six" (The Amazing Spider-Man Annual #1)

In the best Marvel annual of all time, we find one of Spider-Man's best stories; six of his villains team up to take him down once and for all, and he still manages to come out on top. Featuring some of Ditko's most gorgeous artwork, and a moving call-back to Uncle Ben's death - the first time this had been done since ASM #1 - this is a must-read for Spidey fans.

Full Review: https://crawlingthewallsblog.blogspot.com/2024/07/the-amazing-spider-man-annual-1.html

1. The Master Planner Saga (The Amazing Spider-Man #31-33)

What else could it have been? Lee and Ditko's crowning achievement is also my favourite Spider-Man story ever. It's quintessential and cuts straight to the heart of the character; Peter refuses to give up hope no matter how dire things get, and his determination to save the life of his Aunt May is one of the most rousing and moving struggles in Spider-Man history. This storyline - particularly Issue #33 - is why the character remains so popular. He's not just a fun superhero with cool powers; he's the strength and resolve that lies within us all.

Full Review (ASM #31): https://crawlingthewallsblog.blogspot.com/2024/07/the-amazing-spider-man-vol-1-31.html

Full Review (ASM #32): https://crawlingthewallsblog.blogspot.com/2024/07/the-amazing-spider-man-vol-1-32.html

Full Review (ASM #33): https://crawlingthewallsblog.blogspot.com/2024/07/the-amazing-spider-man-vol-1-33.html

Honourable Mentions

"The Enforcers" from The Amazing Spider-Man #10

"The Coming of the Scorpion" from The Amazing Spider-Man #20

"The Goblin and the Gangsters" from The Amazing Spider-Man #23

The Amazing Spider-Man (Vol. 1) #38

 "JUST A GUY NAMED JOE!"

Writer: Stan Lee/Plot/Pencils: Steve Ditko/Inker: Steve Ditko/Letterer: Artie Simek/Editor: Stan Lee/Cover Art: Steve Ditko

Synopsis: Born loser Joe Smith is exposed to some strange chemicals whilst filming a B-movie, an accident that imbues him with super-strength and a belief that everyone is his enemy...

Review: And so, here it is, the great anti-climax. It's undeniably a shame that Steve ends his iconic run on ASM with one of his worst issues, but unfortunately, that's the way it is. He even left before he could produce a cover for the issue, meaning that we get a collage of various images from the comic itself; the whole thing just screams 'behind the scenes problems'. It's probably not his absolute worst issue, but there's very little in here to keep you engaged.

I do admire Steve for creating a story in which there isn't really a supervillain. Yes, Joe Smith does don a cool looking costume and go around causing a ruckus, but he's clearly under the influence of the chemicals and isn't really a bad guy at all. The fight scenes between him and Spider-Man are up to Steve's usual standard, but I must admit that I'm getting a little bit tired of Spidey simply punching every opponent he comes up against into submission - it's happened in almost every issue of late! Where's the scientific mind we were introduced to a few years prior? There are plenty of other fight scenes throughout the issue, as Spidey fends off several waves of hoods who have been offered a $20,000 reward for bumping him off. These scenes are fun at first, but the formula quickly grows stale: some ne'er-do-wells show up, fight Spider-Man, get defeated, rinse and repeat. It's not exactly exciting storytelling, but at least this subplot gives us another glimpse of Norman Osborn, the one who puts the offer of 20 grand on the table - in a disguise, of course.

This issue also features one of the more notorious ESU scenes of the Ditko era, where Peter becomes visibly angry with a group of student protestors; one need only look at Steve's other work to see the contempt he held for such individuals. Thankfully, Stan manages to dial this back by making Peter less of a jerk to them than Steve obviously intended, though even his dialogue is making light of the students, portraying them as insincere and shallow, rather than exploring whatever grievance they may have, although to be fair, Steve's artwork hardly allows for that. Now, anyone who's read this blog regularly knows that I love Steve Ditko. He's my favourite comic book artist of all time, and his tenure on Spider-Man represents the apex of the character for me. With that said, it's clear that by this point, it's time he moved on; his attitudes are starting to look really behind the times, and his insistence on making Peter a staunch Objectivist hero who shuns everyone and who is in turn shunned himself, is dragging the book down. If this sort of scene had become the norm, I think ASM would have started to drop in sales, especially considering how popular Marvel comics were with college kids and members of 60s counter-culture.

There are a few things to like in Issue #38. As said, Joe Smith makes for a good underdog, and I like the fact that the character has made re-appearances over the years; it's a nice little homage to this issue. I also enjoy seeing anything related to Norman Osborn, even if he's not in much of the story, and we get yet another tantalising glimpse of Mary-Jane. Ned Leeds returning and asking about Betty's whereabouts - he didn't elope with her after all - is another really nice plot development, and his confrontation with Peter at the Bugle feels as if it's been a long time coming. These moments are few and far between, however. The simple fact is that the story just isn't particularly engaging, and often feels repetitive. The subplots lift the issue up a little bit, but they're drowned out by the other events. As said, it's a shame that Steve's run on Spider-Man has to end like this, but I'll always support Steve for making what he felt was the right decision for him, and even if this isn't his finest hour, he gave us so many incredible stories that I can't complain.

Rating: 2.5/5

Before we go, I'd just like to say a little bit about Steve Ditko himself. Not only did he produce some beautiful comics for Marvel with characters like Spider-Man and Doctor Strange - plus brief stints on the Hulk and Iron Man - but he remains, for my money at least, the most dazzling visual stylist of all time. His talent for creating landscapes both urban and surreal was unrivalled, his figure work was immaculate, and his depictions of emotional intensity are indescribably powerful. After leaving Marvel, he went on to create some more of his best work for Charlton, giving us the Ted Kord Blue Beetle, as well as the Question; he later moved to DC, creating the Creeper, plus Hawk and Dove. Whilst Hawk and Dove is a bit heavy-handed, the artwork is sensational, and Ditko's work on Beware the Creeper is some of his very best. And of course, we can't forget his copious amounts of creator-owned work that explored his personal philosophies more closely than anything else he worked on. Whilst it can be very difficult to get into, and some of it is nigh-unreadable thanks to Steve's bizarre and idiosyncratic dialogue, I would highly recommend checking out anything he made for Mr A, or his graphic novel Static; the latter is a really underrated piece and the black and white art is divine.

Whilst I may not agree with every one of his personal beliefs, I will always respect Steve for his unwavering commitment to them. He was a dedicated, uncompromising man who never once sold out or did anything that went against his philosophy, and for that, he has my eternal admiration. Perhaps I simply relate to the man a bit too much; I myself am also a stubborn bespectacled bugger who couldn't care less about fitting in with the crowd, but I couldn't claim to have a twelfth of the artistic talent that Ditko possessed. He was a truly extraordinary human being, and the world - not to mention this lone blogger - is far better off for his having been around.

Stephen John Ditko

Thanks for everything

Next time, I'll be doing a top 5 countdown of my favourite Lee and Ditko stories! It's gonna be tough whittling them down...

The Amazing Spider-Man (Vol. 1) #37

 "ONCE UPON A TIME, THERE WAS A ROBOT...!"

Writer: Stan Lee/Plot/Pencils: Steve Ditko/Inker: Steve Ditko/Letterer: Artie Simek/Editor: Stan Lee/Cover Art: Steve Ditko

Synopsis: Professor Mendel Stromm is released from prison, enabling him to exact his revenge against the man who put him there: Norman Osborn...

Review: ASM #37 is a shining beacon amidst the rest of Ditko's Final Five. That's not to say that the other issues are sub-par, but they definitely have that 'treading water' feel, with not a whole lot of development or intrigue, and the scenes of Peter being treated like an outcast at ESU get tedious very quickly. We still get a bit of that here, but it's such a small scene and really doesn't bother me at all when it's surrounded by such a fantastic story.

As it's pretty much the only criticism I have of the issue - that, and the rather silly title - let's just get that ESU scene out of the way first. It's another example of Gwen getting annoyed with Peter and thinking he's a snob, which is about as engaging to read as it always is - ie. not very - but this time around it's actually Peter that comes across as the bigger jerk, calling Gwen "a temperamental female who drools over a fella one day and then acts like an icicle to him the next!" before blocking a well-deserved slap she aims at his face, and telling her that she's "gorrrrgeous" when she's angry. What a creep. You'll find yourself cheering when Flash turns up on the scene, warning Peter that if he behaves like that again, he'll get a pounding, and on this occasion, I'm inclined to support him.

But let's leave any negativity behind, because this issue really is brilliant. Mendel Stromm himself isn't the most exciting of villains, but both of his robots are absolutely terrific in their design, and it's tremendous fun watching Spidey go toe to toe with them, particularly the crawling, blob-like robot that attacks one of Osborn's buildings; such a classic slice of typical Ditko weirdness and creativity. The action scenes are explosive and thrilling, but Steve's plotting is finally back to its high standard; we get a really intriguing story here with plenty of potential for new developments in future issues. Sadly, that won't happen once Steve departs with the following issue, but I appreciate that we have it here all the same. I get really invested in Stromm's plan of revenge, and it's great to see Foswell getting a bit more to do again, donning his Patch disguise to track down Stromm to get a story for the Bugle. I also like the detail that Foswell and Stromm were old cellmates; despite them never meeting face to face in the issue - not knowingly, anyway - it's nice that the two have a bit of a history together.

Perhaps the most significant inclusion in this issue, however, is the first full appearance of Norman Osborn. After being consigned to small background cameos in several previous issues, he's finally able to step into the spotlight, and what a step it is. Norman Osborn is one of my all-time favourite characters, certainly my favourite villain, and even here, when it hasn't yet been revealed that he's the Green Goblin, we get little hints at just how nasty he can be, treating his son with scorn, and the fact that he stole Stromm's inventions before framing him and having him sent to prison. I love it whenever we see the brooding, scheming side of Norman, and we get it in spades here; that ominous final image of him holding a rifle, revealing that he was the one that tried to kill Stromm at the end of the issue, is absolutely magnificent. There are even a few clues dropped as to his secret: he's able to knock Spider-Man out with one punch - how else could he do that but with super-strength? - and he's also able to aim a rifle through a high window without any feasible means - of course, he must have brought his glider with him. Little details like this are proof positive that Steve always intended for Norman to be the Goblin, no matter what rumour may suggest, and I feel it's a shame that we never got to see how he would have had that story play out.

It's such a lovely thing that Steve was able to pull one last top notch issue out of the bag before he left Marvel. This story is right up there with the very best of his work on the character, and Stan's dialogue is on top form as well; my favourite line has to be the wonderfully noir-ish "I'm not holding this gun just to keep my fingers company!" It's a shame we never truly got to see Steve follow up on any of the ideas he presented here, but I'm overjoyed that he put them to paper at all.

Rating: 5/5

Next time, Spider-Man battles...Just a Guy Named Joe...

The Amazing Spider-Man (Vol. 1) #36

 "WHEN FALLS THE METEOR!"

Writer: Stan Lee/Plot/Pencils: Steve Ditko/Inker: Steve Ditko/Letterer: Artie Simek/Editor: Stan Lee/Cover Art: Steve Ditko

Synopsis: After becoming exposed to a gas pocket from a meteorite fragment, Norton G. Fester is gifted with superhuman strength and endurance, thus becoming a super criminal, the Looter...

Review: The Looter - sometimes called the Meteor Man - has always been one of Spidey's D-List villains, and even that might be a bit too generous; he probably falls a bit further down the alphabet than that, but his first appearance here is one of the best of the final five Ditko issues, and the Looter himself actually makes a good impression. I love the way Ditko gives Fester's face so much life and character; when he's scheming in his laboratory, every line in his face is accentuated, and I adore the characterful expressions that Ditko gives him. His costume as well is really cool, another Ditko classic, and I also get a kick out of his backstory as a failed scientist who holds the deluded belief that he's smarter than anyone else in the world. Really, it's a wonder that he's never been a more popular character based on his debut. True, he doesn't exactly give Spider-Man much trouble, and his future appearances paint him as little more than your average super-powered petty criminal, but in this issue specifically, he's a lot of fun, and it's nice to see that Stan and Steve can still pull out a great new bad guy even in the twilight years of their run.

Ditko's fight scenes are just as brilliant as ever; in fact, I think this may be his best work since the Master Planner Saga. It's just fantastic seeing Spidey and the Looter battling it out inside the space exhibit - itself a wonderfully drawn setting - with the Looter making use of the various contraptions on display against his foe, and the final confrontation as the villain tries to escape using a balloon backpack - yes indeed - is also pretty tremendous. I always love to see Spider-Man fighting a villain in mid-air, high above the city, and this is a great example of that, with the web-head using his webbing to hang onto the slippery surface of the balloon, and when that fails, he's forced to grab onto the Looter's foot to save himself from falling. Terrific stuff. The issue ends pretty abruptly after our hero's victory, but I'm not going to complain after such a brilliant sequence.

What I do take issue with - and it's the same thing I criticised in my review of Issue #34 - is Steve's continued insistence on keeping Peter as an outcast from the rest of society. It's clear from his other work that Steve loved to tell stories about characters who were determinedly individualistic, often to the point of being scorned by their peers, but the problem is that it just doesn't work for Spider-Man, at least not at this stage. He's at university now, his life needs to move on from his lonely high school days, but Stan is still being forced to contrive reasons as to why Peter won't get involved with any of the other students at ESU; here it's explained that Peter doesn't want to be thought of only as an egghead after a girl invites him to a party based on his intelligence. Now maybe this will make some kind of sense to some of you out there, but it's just nonsensical to me. In addition to this, his classmates in this issue, particularly Gwen, are just downright unpleasant. Gwen is angry with Peter because she sees him run off to change to Spider-Man when the Looter attacks the space exhibit, and believes him to be a coward. What exactly did she expect him to do? Go toe to toe with the Looter? As far as she's aware, he has no super-powers; running away would be perfectly reasonable behaviour in this situation. It's what everyone else is doing, and I don't see Gwen doing anything to lend a hand. After the way she treats him in this issue, it's a wonder he ever falls in love with her.

ASM #36 is the best issue of Ditko's final five so far. It has a really fun new villain, exciting fight sequences, and the gorgeous artwork we've come to expect from Ditko. Unfortunately, we also get the same problems that plague the rest of these last few issues, namely Peter's continued status as a pariah. Not only is it contrived, it's also becoming very tired by this point; something new needs to happen, some fresh development that injects the book with some intrigue again, because as good as this issue is, you can't escape the feeling that the title is starting to spin its wheels a bit.

Rating: 4/5

Next time, Spidey goes up against a pair of rampaging robots, and for the first time, we're introduced to one Norman Osborn...

The Amazing Spider-Man (Vol. 1) #35

 "THE MOLTEN MAN REGRETS...!"

Writer: Stan Lee/Plot/Pencils: Steve Ditko/Inker: Steve Ditko/Letterer: Art Simek/Editor: Stan Lee/Cover Art: Steve Ditko

Synopsis: The Molten Man is released from prison and goes on a crime spree...

Review: This has long been one of my least favourite issues of the Ditko era, if not my absolute least favourite. That's not to say it's bad, because I don't believe there's a single 'bad' issue in Ditko's tenure, but there really isn't a whole lot going on here. It's about as basic as you can get, a simple 'good guy fights bad guy and wins' story, with little in the way of subplots and characterisation; most of the things that we love Ditko for just aren't present here. I wonder if he was feeling fatigued with Marvel at this point, and perhaps he was already considering moving on, hence why this issue feels so lacklustre in comparison to his previous efforts. Even the Molten Man himself isn't quite as cool looking as he was last time he appeared; he no longer has that glinting, metallic sparkle that Ditko gave him back in Issue #28.

I will admit that I like how the Molten Man has learned from his past experience and goes about his crimes in a more intelligent way, donning disguises so no one can link him to the robberies he attempts. This is also the first - and one of the very few - times that he's just committing crimes just for kicks; in his first appearance, he simply went on a brief rampage after gaining his new powers, and in future stories, he's stealing chemicals in order to cure him of his degenerative condition. His motivation here is far more basic, like the story - if you want to call it that - into which he's been put. There are still some fantastic fight scenes between Spidey and the Molten Man, with the epic flip-over on page 13 being a real highlight, but that's pretty much all the issue is; one big fight featuring a villain who has never been all that interesting. Even the typically excellent - and admittedly exciting - artwork can't save this issue too much.

The thing that does, however, is the final scene, or more specifically, the final page. Peter goes to drop some photos of his fight with the Molten Man off at the Bugle, only to find that Betty doesn't work there anymore. She's left town, and suspiciously, so has Ned Leeds. Peter assumes that Betty and Ned have run away together, and leaves the Bugle office dejected. Before he can leave, however, Jameson's new secretary - one of many he'll have until Betty returns - hands Peter a photograph of himself that he once gifted to Betty. Peter takes one last look before he throws it in the trash, broken glass tinkling around his silhouette as he walks away. It's simple, it's moving, and it's absolutely gorgeous; one of my favourite final pages in a Spider-Man comic.

ASM #35 is a pretty weak issue overall, but it's entertaining enough to not be a total loss, and that final page is just incredible. If nothing else, it's a fantastic example - possibly the best example - of how even in the rare dud issues produced by Ditko, there's always at least one thing in them that absolutely blows you away.

Rating: 2.5/5

Next time, a new supervillain arrives on the scene in the form of the Looter, and Peter's life at ESU gets even worse...

The Amazing Spider-Man (Vol. 1) #34

 "THE THRILL OF THE HUNT!"

Writer: Stan Lee/Plot/Pencils: Steve Ditko/Inker: Steve Ditko/Letterer: Sam Rosen/Editor: Stan Lee/Cover Art: Steve Ditko

Synopsis: Kraven the Hunter returns, more determined than ever to mount Spider-Man's head on his trophy room wall...

Review: And so, we begin what I like to call 'Ditko's Final Five,' the last five issues the great man worked on before departing the title - and Marvel - in 1966. I group these five issues together because I feel that they share some common elements, and some common problems, that aren't present in his earlier work on Spidey. First, you've got the inclusion of the ESU setting, and new characters like Gwen and Harry, who make a welcome return here after being absent from the last two issues, but they're just as contemptuous of Peter as they were before. This is where the big problem with these final five issues comes from: Ditko's insistence on sticking with the status quo of Peter being a social outcast.

After crafting so many excellent stories for the character, and developing Peter to become the determined, strong-willed individual he is by the end of Issue #33, Steve seems to lose his instincts, or at least, he directs them to the wrong ideas. It seems to me that Steve was trying to mould Peter into an Objectivist, Ayn Randian superhero in the vein of his later creations Mr A and the Question; a fiercely individualistic character with black and white morals, who is frequently shunned by the world around him. The problem is, you can't keep things that way forever, because the stories will become repetitive, and the title will begin to stagnate, with no real development for Peter anymore, as by this point he was a fully formed character as far as Ditko was concerned, with no further need for growth. This is all just my speculation, but if you're familiar with Ditko's other work, particularly the characters I mentioned previously, you'll begin to notice a lot of commonalities over these last five issues. This is also where the different approaches of Stan and Steve couldn't be more apparent, and it feels as if Stan is having to compensate for Steve's misguided approach in his dialogue, being forced to contrive a reason why Peter doesn't try and make any friends, or explain his aloofness during his time at ESU so far. Steve's artwork is still absolutely beautiful, but by this point, I think Stan was better suited to take the character and do something new and exciting.

There are still plenty of wonderful things in this issue, however. The opening splash page, with Kraven entering his trophy room, surrounded by mounted animal heads and stuffed kills, is one of his very best, an exquisitely detailed and busy image that really comes to life off the page. Kraven himself is always a welcome addition, and I love how this time, he's not working with anyone else. The Chameleon hasn't hired him, he isn't teamed up with the other members of the Sinister Six. It's just Kraven, and his lust for the hunt, his untameable desire to kill Spider-Man and prove himself the greatest hunter of all time. For a first truly solo outing, Kraven is a lot of fun, and I love the final showdown between him and Spider-Man, with the two of them stalking each other through a block of condemned buildings, made even more exciting when a bunch of hoodlums bust in on the action to fight both Spider-Man and Kraven. Ditko's scenery is absolutely beautiful in this issue; I get a kick out of Kraven choosing the Chameleon's old lair as a hideout, a nice bit of continuity with Kraven's first appearance, and the eerie blank-faced masks staring out from the walls are pure Ditko magic.

There's also a bit of character development, as Betty chooses to leave New York after she suffers a nightmare of Peter revealing himself to be Spider-Man (the very idea!). Betty's absence is another thing that characterises these last five Ditko issues, with more focus being put on Gwen; it seems that Stan wasn't alone in wanting to push her as Peter's main love interest, as Ditko is clearly trying to build up her presence in the comic as well, although she won't really become the Gwen Stacy we know until John Romita takes over the art duties (the same goes for Harry as well).

ASM #34 is quite a good introduction to the overall quality of the final five Ditkos: it's good, but not great. The artwork is to the usual high standard, and aspects of Kraven's plan can be seen as an unintentional precursor to the acclaimed Kraven's Last Hunt, what with Kraven pretending to be Spider-Man in order to lure the real web-head out into the open. The action is solid, and there's some more subplot development as Betty leaves New York for parts unknown, but with all that said, it's still a pretty basic story. It's simply a case of Kraven turning up again, tracking down Spider-Man, fighting Spider-Man, and losing. There's not a whole lot else going on, which sums up quite a lot of these last five stories, but it's a fun enough time nevertheless.

Rating: 3.5/5

Next time, the Molten Man returns to do battle with the web-slinger once again...

The Amazing Spider-Man (Vol. 1) #33

 "THE FINAL CHAPTER!"

Writer: Stan Lee/Plot/Pencils: Steve Ditko/Inker: Steve Ditko/Letterer: Artie Simek/Editor: Stan Lee/Cover Art: Steve Ditko

Synopsis: After his battle with Doctor Octopus, Spider-Man lies trapped beneath a gargantuan piece of fallen metal, as water floods into the room from above, forcing him to draw on every ounce of strength he has to escape...

Review: It's rather a daunting task discussing this issue. Other than Amazing Fantasy #15 and ASM #122, there isn't another Spider-Man comic quite so beloved and iconic as this one, and I count myself amongst one of the many that consider it an indisputable masterpiece. I only hope that I can do it justice in this review, but this really is one of those occasions where reading the issue for yourself is the only way you'll ever get a sense of just how astonishing a work of art ASM #33 is.

First of all, let's get it out of the way: the first five pages make up the single greatest scene in not just Spider-Man, but comic book history. I love practically everything that Steve Ditko worked on throughout his career, but within these five pages lies his finest hour; an emotional tour de force that expertly uses shading, figure work, panel size, panel layout, and impeccable composition to create a rousing, powerhouse sequence that has my eyes welling up every time I read it. The weight of the wreckage that Spidey gradually lifts above his head is nothing compared to the weight of the scene's emotional power.

See how Ditko uses panels of gradually increasing size to emphasise the action of Spider-Man slowly managing to free himself:

See how there's a brief moment of hesitation; our hero hangs his head as the water continues to pour in, driving in torrents over his mask, but he refuses to give up, and only exerts more strength, as shown in the biggest panel yet at the bottom of the page:

And finally, we see Spider-Man triumphant, more powerful and muscular than Ditko had ever depicted him before, lifting the wreckage above his head as the water gushes around him; the shading on the musculature here is just insane, and the image stands as the most inspiring sight in any comic book for me. Despite everything, the hero is finally free:

Stan's dialogue doesn't scrimp on the emotion of the scene either, hammering home Peter's determination to lift the wreckage and retrieve the ISO-36, and despite it being some of his very best Spider-Man writing, I honestly feel that the first eleven pages of this issue, detailing Spider-Man's escape from the Master Planner's base, would be just as effective without any dialogue. Steve makes sure we see just how tired, how close to collapse our hero is, yet at the same time shows his determination as well: the web-head is practically wiped out by the time he limps out of the base with the ISO-36 in his hand, and yet there's something so inspirational and triumphant about it; no matter how beaten up and exhausted he feels, he just keeps going. He can't give up. He won't allow himself to give up. This is one of the countless reasons why Spider-Man is so important to me. He's not just a fun, likeable, exciting character with cool powers, funny quips and a dazzling costume, although all of that is very much true. He's a champion of the human spirit, that fire inside us that tells us to keep going when things seem at their darkest; we each have strength we never dreamed existed, and with it, we can do extraordinary things, we can make it through the bleakest and most depressing periods of our lives. As Aunt May says in my favourite scene from possibly any film: "I believe there's a hero in all of us."

It's an issue that is admittedly oddly structured, as after Spider-Man escapes the base on page 11, there's no more action, no rematch with Doc Ock, with over half of the issue essentially dedicated to simply wrapping up the story, similar to ASM #27. We get some more nice interplay between Spidey and Curt Connors, and of course, a hurried swing over to the hospital ot ensure that Aunt May receives the ISO-36, though there's a tantalising wait of another five pages before we find out the result. Here, we see Doc Ock's henchmen rounded up - Ditko really could draw tough underworld types well, couldn't he? - and a memorable trip to the Bugle, where Peter, covered in cuts and bruises after his ordeal, tells Betty that he has now seen the world as it really is, and has become an Objectivist. OK, so he doesn't really say that, but I'm tempted to think that Ditko intended such a declaration - the expression on Peter's face is very similar to the determinedly self-confident characters of Vic Sage or Rex Graine. Stan prefers to keep things about Peter and Betty's relationship, with Peter once again reminding Betty that he doesn't mind getting into trouble every now and again as long as he can pay his bills, prompting a nice call-back to Bennett Brant's death, as well as Betty's amusingly melodramatic, "Why can't you stick to your studies? Why must you always crave action?"

In addition to Betty, we also get one of the best Peter/Jameson exchanges of the Ditko era, with Peter finally standing up to the old skinflint and demanding that he be paid the full amount he's owed for the photos he's taken. Seeing Peter finally put his foot down and telling Jameson where to stick it is an undoubtedly cathartic moment, one that is repeated several times in the years to come, but never is it quite so satisfying as it is here; this issue really does represent Peter growing up. After all the ups and downs of teenage life, he's finally an adult and is ready to take on the world with more confidence. It's a much needed development for the character.

No matter how many times I read this issue, I'm still on tenterhooks to find out whether Aunt May is going to pull through or not. Of course she is, we know she is, but this three issue storyline has done such a fantastic job of upping the stakes and bringing every emotion to the fore that we really do begin to fear for her, and when it's announced that she's going to be fine, that the treatment was a success, we're just as relieved as Peter is. I cannot express just how much I adore the beautiful simplicity of Ditko's rendering of Peter standing by Aunt May's bedside, a relieved smile on his face, with Stan's dialogue - "I didn't let you down this time, Aunt May! I didn't fail you!" - perfectly summing up everything this three-parter has been about: Peter overcoming not just incredible odds, but his own insecurities. He is finally a man, able to accept and even embrace his responsibilities, and ready to take on the world, even as he limps home on the final page.

Honestly, I kind of wish that Ditko had just ended his run here. Everything he had done to develop Peter as a character culminates here, and had he left after this issue, he would have gone out with his greatest achievement. That's not to say that his last five issues are bad, but they're home to a few problems - which I'll touch on when I get to them - that hold them back from being quite as strong as the majority of his run. Well, they suffer from that, but they also suffer from the fact that this is probably the toughest act to follow in Spidey history. It's perfection. It's definitive. It's essential.

I just love Spider-Man, folks. And this is Spider-Man at his very best.

Rating: 5/5

Next time, we drop back in on the gang at ESU, and are re-acquainted with Kraven the Hunter...

The Amazing Spider-Man (Vol. 1) #32

 "MAN ON A RAMPAGE!"

Writer: Stan Lee/Plot/Pencils: Steve Ditko/Inker: Steve Ditko/Letterer: Artie Simek/Editor: Stan Lee/Cover Art: Steve Ditko

Synopsis: Whilst Aunt May's condition worsens, Spider-Man desperately tried to find a cure, but the Master Planner may get in his way...

Review: The second instalment in the Master Planner Saga is probably the weakest, but that really doesn't matter. It may boast a bevy of plot holes, and certain plot details are kept rather vague, but you just can't argue with the raw power of the story. Here we see Peter fighting harder and more determinedly than he ever has before, all to prevent the death of his beloved Aunt May, wanting more than anything not to fail her the way he failed Uncle Ben. It's a truly exhilarating and emotional story, featuring easily some of Ditko's most intense and powerful artwork: the scene in which Peter unleashes his frustrations on a desk, before vowing to find a cure for his aunt, no matter what the cost, is absolutely spell-binding, and Peter remains true to his word, selling every piece of scientific equipment he owns just to make up the money to pay for a cure. This story brings Peter to his most desperate, and we get to see that desperation makes him more dangerous and fighting mad than ever.

One really lovely use of continuity comes in the revelation about Aunt May's illness. She has somehow managed to absorb a radioactive particle into her bloodstream, and it's rapidly killing her. To his horror, Peter deduces that the only way this could have happened is through the blood transfusion he gave his aunt all the way back in Issue #10; his own radioactive blood is poisoning her. This is such a fantastic call-back to an earlier story that most readers had probably forgotten about by this point. In fact, it's been such a long time, it's a wonder that the radioactivity didn't kill Aunt May earlier, but I'm willing to swallow that little contrivance, because of the added drama it brings to the issue; Peter feels that simply by being related to him, both Uncle Ben and Aunt May have met with tragedy. I do love it when Peter starts to brood; it only makes him more determined to win once he snaps out of his malaise.

Ditko doesn't take long to reveal who the Master Planner really is: Doctor Octopus, secluded in his undersea base and conducting further experiments in radiation. This is where the plot becomes a bit vague - and perhaps suffers from its Silver Age trappings - as Ock simply wants to become a master of radiation and thereby control the world; a pretty thin villainous scheme, but in all honesty, that doesn't bother me a bit. As said earlier, it's the emotion and furious, frenetic pace that make this issue something special. Less forgivable is how Ock runs out on his fight with Spider-Man at the end after only a brief tussle. Ock decides that Spidey is fighting too aggressively and retreat is the best option, and personally I don't think that Ock's arrogance would allow him to run away so quickly; the fight lasts all of about two pages. Considering how good the overall story is, this should be one of the all-time great Spider-Man/Doc Ock battles, but it isn't, and Ock doesn't even appear in the climactic following issue, which does seem slightly odd. With that said, he does finally have his signature goggles now, instead of the bog-standard glasses he's been wearing up to this point, so that's nice.

Not appearing in this issue after being introduced last time are Gwen and Harry; in fact, ESU doesn't even get a mention, which is a bit of a shame considering how well the new setting and characters were introduced last time. Instead, we get a return to the Bugle regulars with Jameson, Betty, and Ned; Peter decides that it's best to make a clean break with Betty because she would never accept him as Spider-Man, and so acts like a jerk to steer her away - strangely enough, he tries this same tactic in Marv Wolfman's run on ASM over a decade later. This scene is another reminder that slowly, things are changing in the pages of Spider-Man, that the old relationships and storylines may soon be coming to a close, something that Stan makes definitive once Steve departs the title. Making a very welcome return, however, is Curt Connors, now based in New York; this is the first of many times that we see Connors acting as an ally to Spidey, helping him track down the ISO-36 serum that can cure Aunt May. I love seeing Connors and the web-head work together; it's a nice reminder of Peter's own scientific background, even if Connors - formerly established as a reptile expert - is now elevated to Reed Richards levels of scientific prowess.

So, ASM #32 definitely has a few flaws. Doc Ock's plan isn't very well fleshed out, and his abrupt exit is rather clumsy. Gwen and Harry are much missed already. The way that Spider-Man stumbles onto the Master Planner's base by complete accident is something of an anti-climax. And yet, all the way through, we get such a sense of super-charged emotion from every page; it's like Peter is a tightly coiled spring, waiting to explode, and when he does get his mad on, he really gets it on, ripping stairways off walls and swinging Ock around by his tentacles. And then, of course, there is that cliff-hanger. After his fight with Ock brings the ceiling of the undersea base down around the two foes, Spider-Man finds himself pinned beneath a gigantic piece of rubble, unable to move, unable to reach the ISO-36 that lies just a few feet away from him, and all the while, a gradually widening hole in the ceiling brings the river overhead dripping down, down, down to flood the base. It's just perfection, and much like last time, I defy anyone not to want to read on after this. A flawed issue to be sure, but I don't mind much at all.

Rating: 4.5/5

Next time, Spider-Man rises...

The Amazing Spider-Man (Vol. 1) #31

 "IF THIS BE MY DESTINY...!"

Writer: Stan Lee/Plot/Pencils: Steve Ditko/Inker: Steve Ditko/Letterer: Sam Rosen/Editor: Stan Lee/Cover Art: Steve Ditko

Synopsis: Peter starts his studies at ESU, Aunt May is rushed to the hospital, and the malevolent Master Planner schemes from his secret underwater lair...

Review: I don't normally like to give away my opinions about issues that I have yet to cover on this blog, and yet in my last post, I mentioned that ASM #31 begins the greatest Spider-Man story of all time. The reason for my mentioning that is simple: the Master Planner Saga is the greatest Spider-Man story of all time. I adore Spider-Man. We're very lucky as Spider-Man fans that so many talented and brilliant writers, artists, editors, actors, filmmakers and composers have contributed something to our beloved web-slinger over the years, but for my money, the peak of Spidey storytelling is told across ASM #31-33. It's not a controversial opinion; this three-parter is commonly rated very highly by readers, and this first instalment may just be my favourite issue of any Spider-Man comic. So what is it that makes this story so damn good?

The opening splash page tells us that a new era in the life of Spider-Man is about to begin, and they're not kidding. This issue very much feels like a big change has come to the book, a much-needed surge of energy that revitalises the stories. That's not to say that the past few issues have been bad, but the introduction of so many new elements all in one issue without anything feeling rushed is a truly staggering achievement. First of all, Peter's enrolment day at ESU is masterfully depicted: the large panel that shows a montage of the whirlwind of confusion and excitement that starting university will always be is fantastic. Filling in tons of forms, waiting ages in long queues, feeling absolutely exhausted by the end of it; this is all so relatable to anyone that has ever been to university, or heck, anyone who's started a new job will know the similarly supreme hassle that comes with signing on with a company. In this new chapter of Peter's life, Lee and Ditko once again prove how well they can ground the character and his life in things anyone can relate to.

With this new chapter come new faces, and it's these new characters that get a lot of the focus in this issue, rather than the usual crowd of Betty, Jameson, and Ned, who only appear on one page of the twenty. It's here that we are first introduced to Gwen Stacy and Harry Osborn, two of the most significant characters in the entire Spider-Man mythology; two people that, along with Mary-Jane, are generally classed as Peter's closest friends, so it may come as a surprise to some Ditko era newcomers to discover that Gwen and Harry are initially rather unkind towards Peter (Harry more so than Gwen, who insists on giving Peter the benefit of the doubt after everyone else is so harsh to him). This is all down to Peter's concentration and anxiety over Aunt May's health, leading him to distance himself from his new classmates, who take his aloofness to mean that he thinks he's better than everyone else. These scenes really remind me of similar moments in Ditko's other work, particularly Mr A and the Question, where the protagonists are frequently held in contempt by their peers simply for doing what they believe is right; I think this is where Steve's Objectivist philosophies start to really make themselves known in his artwork, but Stan manages to curb all of that with his dialogue, which is as strong as it's ever been, instantly getting us on side with Peter after his classmates are so thoughtless towards him.

There's one supporting character who really stands out in this issue, and that's Aunt May. After keeping her dizzy spells a secret from Peter for a couple of issues, she now can't hide them any longer, when she faints into his arms just as he arrives home from enrolment day. The relationship between Peter and his aunt is rarely more touching and heart-breaking than it is in this storyline. The sight of Peter staying up all night because he's too worried about Aunt May to be able to get to sleep is staggeringly moving, but the real emotional gut punch hits when you realise how little Peter and Aunt May tell each other about their problems. The same way Aunt May didn't want to worry Peter by telling him about her illness, Peter doesn't tell her about how he hasn't been able to settle in at ESU, instead assuring her that everything is fine, and he's made lots of new friends. The love the two of them have for each other is plain to see, but it's made so genuinely heart-rending because it means they can't bear to tell each other the truth. Few issues really hammer home how difficult being Spider-Man is: Peter has to juggle his aunt's illness, starting university, studying, making some money to pay medical expenses, and fighting criminals. We really see the toll it takes on him, leaving him no opportunity to get any sleep; he's having to run on reserve power for almost the entire issue.

Of course, amidst all of this character drama, there's the usual dazzling Ditko action you've come to expect. The issue opens like a big-budget movie, with the Master Planner's masked henchmen - absolutely LOVE their design - raiding a nuclear power plant of atomic chemicals. When they try to escape via helicopter, Spidey leaps into the fray to stop them, triggering an epic sequence in which the web-head furiously battles one group of henchmen, whilst another group drops their stolen cargo into the sea to be picked up by a team of scuba divers, and it all ends with Spider-Man using his web to swing a chunk of debris into the helicopter's rotor blades to bring it crashing down into the water. It's a truly spectacular sequence, probably the best opening scene in any issue of ASM. The issue is relatively light on action after that until the very end, when Spidey tackles the same goons trying to steal more radioactive chemicals from the docks. I love how Foswell - in his Patch disguise - gets involved with this; I especially love seeing him turn to his former enemy Spider-Man for help in apprehending the criminals. All the while, we're treated to brief snippets of the Master Planner - or rather his voice - as he plots and schemes in his underwater base; there's a real sense of something big brewing in this issue, a threat the scale of which Spider-Man has never faced before, and it sets the tone perfectly.

And so, with the Master Planner's gang thwarted, but with no real answers as to why they're stealing these materials, the issue ends, but not before giving us a tantalising and ominous clue of what's to come. Two doctors reviewing Aunt May's medical tests look ashen-faced at the results, and one proclaims - as an unaware Spider-Man swings past the building - that "the poor woman can't last much longer!" It's a truly chilling end to a perfect issue, and I defy anyone to not want to read on after the twenty pages they've just experienced. They won't be disappointed; this story doesn't come close to losing its momentum in the following two issues. As for this first instalment, what else can I say? I really could just talk this issue through panel by panel and break down just how marvellous it is, but that would just go on for far too long, and besides, I want you to experience it for yourself if you haven't already. It's too good to miss.

Rating: 5/5

Next time, Spider-Man goes on the rampage to track down the Master Planner as Aunt May's condition worsens...

The Amazing Spider-Man (Vol. 1) #30

 "THE CLAWS OF THE CAT!"

Writer: Stan Lee/Plot/Pencils: Steve Ditko/Inker: Steve Ditko/Letterer: Artie Simek/Editor: Stan Lee/Cover Art: Steve Ditko

Synopsis: J Jonah Jameson is robbed by the Cat Burglar and offers a thousand dollar reward for his capture. Meanwhile, Peter's life takes a devastating turn...

Review: ASM #30 is a truly offbeat issue. It's very oddly structured, featuring a story in which what would usually be the A plot - Spider-Man going up against a villain - is relegated to the background, so as to focus more on Peter's life as events begin to spiral out of his control. This is an approach I very much approve of; I love it when we get a story that decides to dial back the action every once in a while. It's also a bit of an end of an era, as it features the last appearance of Liz Allan for a very long time - 9 years - as well as giving us the beginning of the end of Peter and Betty's relationship.

Yes, Betty drops a bombshell on Peter this issue: Ned has asked her to marry him. Peter's response to this is slightly odd: he concludes that he'll have to tell her that he's Spider-Man and then propose to her himself; I'm not sure how he thinks this will do any good, considering Betty's known distaste for Spider-Man. His idea of a counter-proposal may seem a bit odd for modern readers as well; Marvel had a habit of treating marriage in a rather off-hand way in the Silver Age, with proposal being seen as a quick and easy solution to the character's problems, though this wasn't true of every case. When Reed proposed to Sue in the pages of Fantastic Four, it worked because they'd been a couple since the comic began, and it felt like a natural evolution, but when Matt Murdock decides he's going to propose to Karen Page in Daredevil, when he hasn't been on a single date with her, you start to question how sincere his intentions are. Here, it makes a kind of sense: Betty has at least been on several dates with Ned, and still wrote to him whilst he was in Europe, so there is a precedent for them to get engaged, and you've got to remember that this was the 60s, when people still viewed marriage as 'the done thing,' and potentially thought less about it than they might do now if someone they've been seeing proposed.

Of course, Peter's plans to reveal his secret identity and offer a proposal of his own go south, as Betty tells him that she wants someone stable and reliable, someone who will always be there to come home to her, not an adventurer like Spider-Man. We also get a nice call-back to her brother's death - the first mention of Bennett Brant since he was shot in Issue #11. With this said, Peter realises that it's hopeless, because he can never give up his responsibilities as Spider-Man, and storms out of Betty's apartment angrily; Ditko's depiction of Peter's frustration and heartbreak is absolutely beautiful throughout this scene; hell, throughout the whole issue. The dejected look on Peter's face feels so true and real, and the final panel, where Peter and Betty are separated by the ghostly image of Spider-Man, is so wonderfully, evocatively Ditko that it stands as one of the most memorable moments from his era.

The rest of the supporting cast are used well also, if not quite as prominently. Jameson is obviously seething after his apartment is robbed - I'm surprised he doesn't accuse Spider-Man of the crime - but his horror when he realises that he'll have to shell out the one thousand dollars to Spidey if he brings the Cat in is a fantastic running gag throughout the issue. We also get some nice appearances of Foswell, using his Patch disguise to track down the Cat for Jameson; I love the shady watering holes Ditko creates for these scenes. As mentioned above, this is also the last time we see Liz for nearly a decade, when she bumps into Peter in the street and asks him to get rid of Flash, who has been following her to find out where she works (so Flash is a stalker now?) It's a rather touching scene between Peter and Liz, as we see how she's getting on in life after graduating high school, and I'm glad that Gerry Conway thought to bring her back all those years later; she was one of the original core supporting cast, after all, and deserved a bit more development.

Of course, there is supposed to be a villain in all of this, but the titular Cat barely makes an appearance, only really turning up to rob Jameson at the start, and try another caper - only to get captured - at the end. Spider-Man does go up against several criminals - including a gang of masked crooks who get away with their prize - but always in little bursts; it feels as if for most of the issue that the Spider-Man action is interrupting the real focus of the story, that being Peter's personal life. The Cat himself isn't that inspiring a character, but he makes for a nice change of pace from the super-powered menaces that Spidey typically has to fight, and the moment where he blows up the base of a water tower to try and kill the web-slinger is fantastic. One thing of note is that it's actually the police, and not Spider-Man that captures the Cat; this is part of a trend of increasing police involvement during the latter half of the Ditko run - we also saw the police help Spidey out during the fight with the gangsters in Issue #27. It's clear that Ditko had a lot of respect for the police; he's even quoted as saying that he envied them the ability to go out and apprehend criminals, an indication of his staunchly black and white principles.

So, there's a lot to like about this issue, but one thing - or rather, one person - brings it down. That person is Stan Lee. We know by this point that Stan was refusing to talk to Steve after Steve demanded he receive the proper credit for the work he was doing, so whenever Stan would be given the finished artwork that Steve had done, he was basically just making up whatever story he could interpret from the pages, and nowhere is the lack of communication more evident than here. The masked gang of crooks that hijack a van delivering uranium to Tony Stark is said to be working for the Cat, when they're clearly a much more organised group, whilst the Cat is one man on his own; next issue, they'll be revealed to be working for the Master Planner. Not only this, but in a later scene, as the Cat plans his final job in his apartment, he mentions that once it's done, he'll go after Spider-Man. Why? Spidey hasn't done anything to jeopardise his robberies, and the Cat would just be stupidly putting himself in harm's way if he tried to take on someone with super-powers. It's a really lacklustre turn by Stan, a clear example of just how little he was trying to communicate with Steve at this point, and makes the issue feel a bit incoherent at times.

ASM #30 is a great issue, but it could have been even better if Stan's dialogue choices didn't leave aspects of the plot feeling messy. Steve's artwork is brilliant, as usual, boasting his love of noir-ish shadows and gorgeous cityscapes; the climactic pursuit of the Cat across the rooftops, with the police spotlights shining up from below, is incredible. There's plenty of character development to enjoy, and it's nice to occasionally take a break from all-out action, especially after the last two issues, which were almost nothing but. Lots to like here, even with some of the baffling dialogue.

Rating: 4/5

Next time, Peter not only begins his studies at Empire State University, but also his greatest adventure of all time...