"SPIDER-MAN NO MORE!"
Writer: Stan Lee/Penciller: John Romita Sr./Inker: Mike Esposito/Letterer: Sam Rosen/Editor: Stan Lee/Cover Art: John Romita Sr.
Synopsis: Living a double life finally takes its toll as Peter gives up being Spider-Man, leaving New York wide open for the Kingpin to mount a criminal takeover...
Review: Occasionally there are superhero comic books that are so famous that they become part of mainstream pop culture, and ASM #50 is one of those occasions; I'd even go so far as to say that it's probably the most well-known single issue of any comic book ever. The beautiful, evocative cover alone is a cultural icon, referenced and imitated not just in later Spider-Man work, but also in other corners of pop culture, from The Simpsons to Dylan Dog. 'Spider-Man No More' is possibly the most famous Spider-Man story of all time, aside from the origin and 'The Night Gwen Stacy Died', and it deserves every ounce of its iconic status, because it really is an all-time classic.
The best part is, Peter's decision to renounce his superhero identity doesn't come from out of the blue; rather, it feels like a culmination of everything that's ever gone wrong for him. It's all been inevitably building to this, the moment when he decides that enough is enough; he can't keep living a double life anymore. Whether intentionally or not, Stan did actually set this up really nicely in the most recent issues, where Peter was often commenting to himself that being Spider-Man is a burden, and asking the question of when he's going to see sense and give it all up. Of course, when the fateful moment does come, it's no less impactful; the splash page of Peter walking away from his discarded costume as it lies crumpled in a garbage can is one of the most emotionally gut-punching pieces of Spidey artwork ever produced, the rain only adding to the dismal tragedy of the scene. I recently rewatched Spider-Man 2 on the big screen after it was re-released this year, and as much as I applaud Sam Raimi for referencing this moment in the film - replicating the artwork pretty much perfectly - it still didn't carry the same weight that Romita's piece does; nothing has quite as much heart-rending power as page 8 of ASM #50.
Not only does Romita bring his A-game throughout, giving us not only fantastic emotional melodrama, but a terrific action scene that takes place over the first few pages; Stan turns in one of his very best scripts. It features his usual Shakespearean dialogue cranked up to 11, which I very much approve of, but for all the grandiose verbosity, Peter wrestling with his emotions never fails to feel honest and grounded; Stan's melodramatic style heightens the emotion of the issue rather than distracting from it. This would become a trend throughout the rest of his run on the title, and I really do feel that this is where Stan hits his stride; not that the issues produced up until now have been bad, but they've become increasingly light and fluffy, sacrificing the brooding, emotional intensity that is such a crucial part of Spider-Man. From here on, it's over the top superhero soap-opera melodrama all the way, and this is truly where the Lee and Romita era becomes the Lee and Romita era that we all know and love.
Of course, there's not just Peter to talk about: we get ourselves a brand new villain, and what a villain he is! The Kingpin may not appear much in his debut, but he makes one hell of an impression. Nobody can draw the Kingpin as well as John Romita; you really feel the power, the sheer size and weight of the character when Romita's on pencils, and Stan clearly loved the big guy, because he makes more appearances throughout the rest of the Lee and Romita run than practically any other villain. There are some really lovely call-backs to ASM #10 throughout this issue, what with the similar plot involving a new mob boss taking over the underworld in New York, and a lot of scenes with Foswell, who at long last, is acting like his old, sly self again. He's finally been given some purpose once more, deciding to re-enter the criminal world by striking a deal with the Kingpin, who he aims to make his lieutenant - spoiler alert: this does not go well - and the scenes with Foswell are just wonderful. Romita's moody artwork successfully evokes the shady, noir-ish imagery of Ditko, and at times, this really does feel like a return to those Lee and Ditko masterpieces, but still retaining that slick, polished, Romita feel.
Now, obviously, Peter is not going to stay out of action forever, and sure enough, by the end of the issue, he's donned his red and blue duds once more and is ready to take on the world - I find it quite a nice parallel how both Peter and Foswell return to their old ways by issue's end. I really love his epiphany moment where he realises that he has to become Spider-Man again because of the vow he made after Uncle Ben died - although it seems a bit odd that Uncle Ben didn't even cross Peter's mind earlier on in the issue - and I get a real kick out of seeing Peter taking on some burglars in just his civilian clothes. The final scene with Jameson is just wonderful as well, and after near enough a whole issue with no Spidey at all, it's just a joy to hear him needling JJ once more; his triumphant swing away from the Bugle in the final panel is just exquisite.
What more is there to say about this issue? It's 'Spider-Man No More'. It's a masterpiece. It's a must-read. Tell your friends to read it as well. I think there's a real danger of forgetting just how good this issue is; like the origin story before it, it's almost too famous for it's own good. I myself approached it for this re-read with the mindset of, "Oh yeah, Issue #50, it's great," because it's just an accepted fact, but once I delved into it again, I remembered just how great it truly is. And guess what? Stan and John are only just getting started! We've still got a certain Kingpin to take care of...
Rating: 5/5
Next time, Spider-Man is back in action as he tracks down the Kingpin, but stopping this new foe may not be as easy as he thinks...
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