"PREEEEEESENTING...THE CLOWN, AND HIS MASTERS OF MENACE!"
Writer: Stan Lee/Penciller: Steve Ditko/Inker: Steve Ditko/Letterer: Artie Simek/Editor: Stan Lee/Cover Art: Steve Ditko
Synopsis: The Circus of Crime decides to carry on without their leader, the Ringmaster, and so appoint the Clown as his replacement, before going on a new crime spree...
Review: Returning to this issue was something of a pleasant surprise. It's not that I'd ever disliked it, but it had always been one of those issues that existed at the back of my mind as an "Oh yeah, and there was that one as well," a rarity for a Ditko story. Upon returning to it, however, I was pleased to discover just how much fun it is, and how inventive and ambitious Ditko's artwork gets. As stated in previous posts, it was around this time (we assume) that Ditko started to develop the ideas and plot the stories for Spider-Man, with little to no input from Stan, although he wouldn't be given credit for this until Issue #26. There's a rather telling indicator of this on the letters' page for this issue, where an announcement for the following issue proclaims: "You're probably wondering where we go from here with Spidey? Well, if it'll make you feel better, we're wondering too!" Admittedly, there is a proper teaser for the next issue at the bottom of the announcements section, but I'd say that this is around the time that Stan and Steve stopped communicating (or, as Steve recalled, Stan refused to come out of his office whenever Steve would come by).
The thing I've always liked about this issue, even before this revisit, is how unpredictably it starts. We see the Ringmaster tossed out of the Circus of Crime - literally - by his own henchmen, a really exciting shake-up to kick off the story. Not only that, but unlike last time they appeared in Issue #16, the circus performers all have their own gimmicks to make them stand out. The Clown is zips around on a unicycle and tries to hook Spider-Man with his cane, the Great Gambonnos are twin acrobats that work as a pair and Cannonball can be seen as a precursor to villains like the Rhino and Hammerhead with his steel-plated helmet that he uses to charge at enemies and obstacles.
Best of all though is Princess Python, a classic femme fatale, blowing smoke in the Ringmaster's face and hooking everyone in the comic around her little finger. The Clown may supposedly be in charge, but it's clearly Princess Python calling the shots. She's a great character, especially when she takes advantage of the fact that Spider-Man is too gallant to use physical force against a woman, leaving him practically helpless against her (although I'm not sure why he doesn't just web her to the wall or something). I love how clueless and innocent Spidey is in these scenes as well, calling Princess Python "Ma'am". He doesn't have enough female villains; it's moments like this that show how rattled such a stalwart and true hero can get when faced with a villain he can't bring himself to punch in the jaw like all his other foes.
This issue also features some of Ditko's most visually exciting and creative fight scenes. There's the usual acrobatic action that's just as brilliant as ever, but check out this really cool three panel tussle between Spider-Man and the Masters of Menace as they try to crowd around him:
Or this incredible if brief struggle against Princess Python's giant snake:
It wasn't often in the Ditko era that Spidey fought such out-there creatures, so it's a nice treat in this issue. There's also a rather brilliant moment where Spidey finally stops Cannonball by grabbing onto his steel helmet and crushing it around his head, which I'm surprised doesn't kill the guy; having spider-strength crush a steel helmet around your skull can't be good for your health.
Of course, it wouldn't be Spider-Man without some personal drama, and here we see that Betty has finally given Peter the chance to explain about the misunderstanding last issue, when she thought he was cheating on her with another girl (based on no evidence whatsoever). Peter explains himself, and she apologises for being completely insane. We don't see much of the Midtown High crowd in this issue, save for a few panels featuring Flash and Liz, but there are some nice funny moments with Jameson as he drags Peter and Betty to a terrible art gallery that he's sponsoring; these scenes really remind me of Ditko's later work on Blue Beetle #5 for Charlton Comics, a story with a similarly bizarre set of art exhibits, although that one also features a healthy dose of Objectivist philosophy thrown in (it is Steve Ditko, after all). There's a brief bit of jeopardy in this issue when Jameson is taken to the hospital after being knocked out by Cannonball, but of course, the fearless publisher is alive and well at the end with nothing more than a bit of sticking plaster on his head, although Betty was seemingly ready to give him up for dead as soon as he was wheeled off to the hospital, as she insists on referring to him in the past tense. Give him a chance to recover Betty!
ASM #22 is a really fun issue, filled with creative and dynamic action, and a much needed shake-up for the Circus of Crime; this re-invention sets them up as a more diverse band of characters, as well as giving us Princess Python, who didn't feature in their last appearance. I still wouldn't say they're my favourite villains, but they're a lot better here than in Issue #16. Add some nice scenes with Jameson and Betty, plus a typically Spider-Man ending where Aunt May chastises Peter for not calling to say he would be home late, and you've got another really good outing from Lee and Ditko.
Rating: 4/5
Next time, the Green Goblin returns, seeking to take over the mob of notorious New York gangster, Lucky Lobo...
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