The Amazing Spider-Man (Vol. 1) #94

 "ON WINGS OF DEATH!"

Writer: Stan Lee/Penciller: John Romita Sr./Inker: Sal Buscema/Letterer: Artie Simek/Editor: Stan Lee/Cover Art: John Romita Sr.

Synopsis: With Gwen gone, Peter reminisces about how his life as Spider-Man all started, whilst the Beetle terrorises Forest Hills...

Review: This issue has something of the feel of an annual. By that, I mean that there's a bit of new content in the form of the Beetle story, but nearly half the issue is taken up with flashbacks and recaps so that new readers can get caught up with the world of Spider-Man. I'm assuming that this was done for one of two reasons (possibly both). One is that Stan felt it was time to give newcomers a retelling of the origin story, since it had been so long since Amazing Fantasy #15 had seen print. The other is that he was starting to run out of ideas, and needed something simple to fill a month's issue. The fact that the Beetle stuff is so basic adds credence to this second theory, but that's not to say that the issue is bad; far from it.

As retellings of the origin go, it's one of the better ones, thanks largely to Romita's artwork, although we are missing a few crucial scenes, as the story has been cut down for the sake of brevity. As a result, we get no insight into Peter's life as a picked-on student of Midtown High, the wrestling match against Crusher Hogan is completely removed (as it so often is in these retellings), and the burglar rushes past Spidey as soon as the web-slinger arrives at the TV studio, rather than just on one night in several. As with all of these origin retellings, it bears repeating: it does not matter how good your artist is, or how many little tweaks and revisions you make, nothing will ever match the Ditko original for storytelling, pacing or artwork. Amazing Fantasy #15 contains a textbook example of how to craft a compelling comic book story in just eleven pages, and no attempt at retelling has ever matched it. Still, a pretty game effort from Lee and Romita, although I am confused as to why flashbacks to Peter's interactions with Jameson and Betty are needed; could we not have just got on with the Beetle stuff a bit quicker?

The Beetle story itself is, as I said before, very basic, but it gets the job done and after all the turmoil and tragedy in Peter's life lately, it's kind of fitting to go back to a simple 'hero stops the villain' story. The Beetle has never been a favourite of mine, but Romita gets some cool action scenes out of him, especially with those telescopic suction feelers, and I especially like all the scenes with Aunt May in this issue as she's kidnapped by the Beetle and Spidey swings into action to save her. May is a little on the wacky side in this issue, and I think Stan goes a bit too far with her treating Peter like a child, but the relationship between her and her nephew is as charming as ever, and it's nice to actually have her in the comic again after a general absence of late. The Beetle's plan is like something out of Scooby-Doo; he's breaking into various shops in Forest Hills that are all situated next to a bank. One of them is directly adjacent to the bank's vault, but Beetle doesn't know which one, so he keeps attacking each in turn. This plan is so blindingly obvious it's a wonder why nobody guesses it from looking at the shops that have been broken into, but I suppose the Forest Hills police force might be a little slow.

ASM #94 is a fairly simple affair: an origin recap and the most standard supervillain plot you could think of, but it's still a pretty entertaining story and Stan manages to deftly weave the origin together with the Beetle story by having Peter feel that by saving Aunt May from the Beetle, he's started to pay off the debt he owes Uncle Ben; it's pretty heart-warming stuff. Too much of the issue is dedicated to the origin retelling, and the authorities are even more thick-headed than usual for a superhero comic, but it's a decent little issue for what it is.

Rating: 3.5/5

Next time, Spider-Man travels to London Town, guvnor in search of Gwen, but ends up embroiled in a terrorist plot... 

The Amazing Spider-Man (Vol. 1) #93

 "THE LADY AND--THE PROWLER!"

Writer: Stan Lee/Penciller: John Romita Sr./Inker: John Romita Sr./Letterer: Artie Simek/Editor: Stan Lee/Cover Art: John Romita Sr.

Synopsis: In the wake of Captain Stacy's death, Hobie Brown once again takes on his Prowler identity to bring Spider-Man to justice...

Review: Peter's personal hell just gets worse and worse. The last ten issues of ASM (although mainly Issues #90 to #98) push our hero to breaking point, leaving him at his absolute lowest before eventually bringing him back up again. Right now, though, we're pretty much in the pits of despair, with Captain Stacy dead and Peter feeling that he can't be with Gwen because of her newfound hatred for Spider-Man. It's a great Spider-Man setup - sometimes I wonder if we're all secretly sadists who like Peter best when he's miserable - and this is another solid issue in what has been a very good run so far; since ASM #88, I've not scored a single issue less than a four out of a five.

The return of the Prowler is very welcome, and I found it quite interesting that Hobie is reintroduced in a similar manner to how he was first brought to our attention back in ASM #78 - through Peter thinking that there could be nobody in New York with the same hang-ups as him. Hobie is now engaged to his girlfriend Mindy - hooray - and is looking to move into a house they can call home, but the recent news about Captain Stacy's death has him worried that Spider-Man made him an unwitting guilty party - remember that Hobie dressed up in Spidey's costume at the web-head's request back in ASM #87? I will admit that this is a bit of a stretch; whilst I can buy that Hobie would think it a bit odd that Stacy was there when he donned the Spider-Man costume, I don't see how he can think that there was any potential setup there. I also find it quite unlikely that Hobie would believe Spider-Man killed Stacy, seeing as he's considered the web-slinger a trusted friend in the past. I feel that he would give Spidey the benefit of the doubt rather than just putting on his Prowler suit again and going out to bring the guy in.

But go out for a battle with Spider-Man he does, and it's another dazzling fight scene that we're used to seeing in ASM by now. John Romita's back and he gives us his usual high standard of artwork, deftly balancing the intense action between Spider-Man and the Prowler with the more intimate and mournful scenes between Peter and Gwen. The fight with the Prowler is pretty sensational, especially when the two of them topple down an elevator shaft and continue to fight even with a sheer drop beneath them. There are also a couple of cops who chase the two combatants through the streets, which doesn't really lead to anything substantial story-wise, but it does give us a phenomenal panel from their perspective as they stare in wonder at Spider-Man fleeing the Prowler by scaling a large building; the scale that Romita gives this moment - one where we can see Spider-Man in action as the people of New York see him - is nothing short of masterful.

However, it's Peter's relationship with Gwen that provides perhaps the most memorable moment of the issue, as she decides to leave the USA to go and live with relatives in England. Peter rushes to the airport at the end of the issue, only to see her plane taking off as he stands there helplessly, screaming her name at the departing aircraft. It is a slightly amusing moment if truth be told, and the whole mad rush to the airport comes out of nowhere really - how did Gwen find someone to move into her apartment so quickly? - but it does lead to a brilliantly sombre moment as Peter leaves the airport alone, at the lowest he's ever been brought. Once again, Romita just sells the hell out of this moment and really makes you feel Peter's pain.

ASM #93 has a few hiccups here and there - mainly leaps in logic - but it's an entertaining issue that gives us a great action scene, and some great drama. I love seeing the Prowler turn up, and Romita's artwork is incredibly strong throughout. Most of all, it's an issue that in many ways harkens back to the Ditko era with just how much Peter is put through the ringer. By the end of this issue his superhero identity is a wanted fugitive, he's lost the respect of someone he once called a friend, and now he's lost the girl he loves. It's top notch superhero melodrama, proving that even towards the end of his tenure, Stan was still capable of delivering us great stories.

Rating: 4/5

Next time, Peter thinks back to how it all began, whilst the Beetle perpetrates a one-man crimewave in Forest Hills...

The Amazing Spider-Man (Vol. 1) Annual #7

Once again, we have an annual containing nothing but reprints, so much like my post covering ASM Annual #6, this will just be a brief summary of the contents of the annual, with links to my original reviews of the stories within.

First up is Spider-Man's first encounter with the Chameleon from ASM #1. As the Chameleon had made a reappearance in the year preceding this annual, I can see why this story may have been chosen. The other reason is that by this stage, ASM #1 would have been long out of print, and so for many fans, this would be the only way to experience those early adventures in an age before collected editions and omnibus books. It's not a bad story, and I have a soft spot for it, but it's not without its silly moments, and the infamous 'Peter Palmer' misprint is baffling.

Next is the first appearance of the Vulture from ASM #2. Another villainous debut that many fans wouldn't have had access to at the time, and it's a classic, featuring not just the first flight for the Vulture, but also the first meeting between Peter and Jameson. Solid stuff all round, with Ditko's best artwork for the character, up to this point in time.

Finally, we have possibly the strangest choice for annual inclusion I've ever seen. "Just a Guy Named Joe" from ASM #38 rounds off the annual, and I really have no idea why this was chosen. Did Stan think it would be good to include an issue featuring the ESU characters like Gwen and Harry, just so newer fans would have a supporting cast they could recognise? Did he want to bookend the annual with Ditko's first and last issues for ASM? No idea, but the fact remains that despite my adoration for Steve Ditko, this is by far one of the weakest stories he put out, even with his usual high quality of artwork.

So overall, not a terrible selection, but a slightly odd one. The Vulture story makes sense, and I can see the reasoning behind the Chameleon one as well, but why Issue #38 is here, I'll never know. Still, a fantastic cover from Romita, if not quite as good as his Sinister Six piece from the last annual.

Next time, we're back to ASM proper as we delve into ASM #93, and witness the return of the Prowler...

The Amazing Spider-Man (Vol. 1) #92

 "WHEN ICEMAN ATTACKS!"

Writer: Stan Lee/Penciller: Gil Kane/Inker: John Romita Sr./Letterer: Artie Simek/Editor: Stan Lee/Cover Art: John Romita Sr.

Synopsis: With Sam Bullit's appointment as DA only days away, Spider-Man desperately fights to avert disaster...

Review: It's always seemed slightly strange to me that this issue doubles up as a conclusion to the Bullit story, and a guest appearance for Iceman. The Bullit stuff carries on much in the same way as the previous issue, but Iceman's involvement in events just feels a bit weird, almost as if they stuck him in as an afterthought when they realised that ASM #91 didn't have a lot of superhero action in it. I guess it works well enough, as it manages to retain Bullit's more grounded brand of villainy - rather than enlisting the help of a mad scientist and a lumbering monster like Richard Raleigh did back in Spectacular Magazine #1 - whilst still giving us some fun fight scenes.

The developments of the Bullit story are all really well done; the man is scarily close to becoming DA by this point, as he's managed to convince the public that he has their best interests at heart. The highlight of the entire issue is a minor comeuppance for Bullit, as Jameson withdraws the Bugle's support for his campaign, after discovering that Bullit not only employs thugs to intimidate those who are against him, but that he's being backed by "lunatic hate groups", presumably organisations like the KKK. Jameson's anger at Bullit is such a satisfying moment, and one of the Bugle publisher's finest hours, even if he does try and foolishly claim after the fact that he had Bullit figured out all along.

Bullit isn't about to take this lying down, however, and promptly kidnaps Robbie, planning to have him murdered so that he can't take the evidence he has against Bullit to the police, prompting Spider-Man and Iceman to investigate. As said, Iceman's involvement feels slightly odd, and the fight scenes he has with Spidey are the usual misunderstandings you get so often in comics of this era. Iceman thinks that Spider-Man is a bad guy because of recent events, Spidey has more important problems to worry about...you get the idea. It is cool seeing them team up at the end of the issue though, especially as a big fan of Spider-Man And His Amazing Friends, and Gil Kane really nails Iceman's look; every crystalline line of his body is delicately rendered, and really does make him look as though he's made of ice. It's a lot of fun seeing his ice powers in action as well, particularly the ice slides.

In the end, Robbie is saved - obviously - and both Spider-Man and Iceman apprehend Bullit's thugs, who tell all to the police. Bullit is confronted with this at a fundraiser, and the idiot confesses his guilt in front of everyone as soon as he finds out that Robbie is still alive. It all ends pretty abruptly with no kind of coda, but we do see Bullit being led away by the police, so at least we know things have turned out right. In the world we currently live in, where hatred and callousness are so widespread - even popular - where the lives of human beings and their families are valued less than the price of eggs, where society will willingly condemn untold numbers of people to exile and misery simply because they are a different colour, I truly want to believe that an ending like the one presented in this issue is possible. Right now, I doubt it, but hopefully someday, the public will finally be able to see what a horrid mess we have made of ourselves, and that something needs to be done about it.

The Bullit two-parter represents one of Spider-Man's most daring and provocative stories. I can imagine there are many people out there who would consider it to be 'overly political', an opinion that I find rather worrying, as it suggests some level of agreement with Sam Bullit's ideology. ASM #92 is a great conclusion, with only the bizarre inclusion of Iceman standing out as being a bit off, and even then it doesn't bother me; at least we get some cool action with the two heroes to go alongside the social commentary. Stan Lee took a consistent stand against bigotry and corruption throughout his time at Marvel, and this is one of his crowning achievements in that vein. It's a story that really needs to be praised and discussed more often than it is, because today, more than ever, it is terrifyingly relevant.

Rating: 5/5

Next time, we're taking another break from Spidey's monthly adventures to take a look at ASM Annual #7, featuring three reprints of Ditko stories...

The Amazing Spider-Man (Vol. 1) #91

 "TO SMASH THE SPIDER!"

Writer: Stan Lee/Penciller: Gil Kane/Inker: John Romita Sr./Letterer: Sam Rosen/Editor: Stan Lee/Cover Art: John Romita Sr.

Synopsis: In the wake of her father's death, Gwen decides to support the austere Sam Bullit's campaign to become DA, but Bullit's pledge to bring 'law and order' to New York will prove dangerous for everyone...

Review: Much like the Prowler story that spanned Issues #78 and #79, the Bullit two-parter is a Spider-Man story with a strong social conscience, and as such, it remains one of my favourites. It is a story that feels keyed into the zeitgeist of 1970, but remains just as relevant - if not more so - today. This first instalment makes for a change of pace from what we expect from Spider-Man: there is no supervillain, and very little in the way of action, but there's a hell of a lot of substance and character drama, and that's where this storyline shines.

Sam Bullit is also a very different type of villain. The thing about the bad guys Spidey faces on a regular basis - Doctor Octopus, Electro, Kingpin etc - is that we love them. They may be on the side of lawlessness and criminality, but we can't help but smile whenever they turn up, because we love these characters and we love seeing Spidey go up against them. In their own way, they are kind of loveable. Sam Bullit is another beast; Bullit is a villain you are actively meant to despise, and I think this largely comes down to the fact that unlike Spidey's regular rogues, he's a completely normal citizen. He has no superpowers, no gadgets, no impressive bulk to help him out in a scrap - although there is a weirdly Kingpin-esque scene of him practicing martial arts with his henchmen - because all he has to be is a bigoted, fascistic authority figure that somehow manages to get a ton of followers behind his campaign. We don't see too many examples of his bigotry in this issue, but his Nazi style beliefs about how to run the city and keep the populace under control are here in full force: the scene where he orders two of his thugs to beat Peter up is especially blood-boiling.

If we look at this from the context of the time the comic was printed, Bullit clearly represents the 'hawks', people in favour of the Vietnam War and against the 'bleeding-heart liberals' who they believed were eroding American society and values. He makes reference to 'long-haired do-gooders', an obvious dig at hippies and counter-culture. Bullit would have been a very believable character back in 1970, as many of the readership - predominately liberals themselves - would have seen his type on TV or encountered him in public, or even at home. The fact that he bears something of a resemblance to then-president Nixon is likely no coincidence. Sam Bullit is a very real and very scary character, even more so these days in an era where extreme politicians are more prevalent than ever, and some of them even manage to win elections. Bullit is a rare type of comic book villain; he's the type that, for a moment, we worry might actually win.

The supporting cast are obviously affected by Captain Stacy's death in the previous issue. Gwen is distraught enough that she'll throw herself in with a fascist who claims he can get rid of Spider-Man, who she blames for her father's death. Of course, this leads to the biggest distance between her and Peter yet, as now he feels that he has no right to be with her because of his involvement with her father's death. It's some truly terrific drama, and we'll see it play out over the course of the next several issues. Even Jameson is upset at Stacy's death, commenting that though Stacy may have been a bit too liberal at times, Jameson respected him and thought of him as a good man. The fact that Jameson also supports Bullit's campaign should come as very little surprise - Bullit does pledge to 'crush Spider-Man' after all - and I love seeing the friction between him and Robbie, who is very much anti-Bullit. We'll see Jameson's opinion turn around in a big way next issue, but for now, it's interesting to see him and his closest friend have such an intense disagreement about something.

ASM #91 is a decidedly offbeat issue, but that suits Spider-Man down to the ground. I love Gil Kane's artwork in the Doc Ock issues he did, but I feel that this is where his style really fits the story being told; his talent for giving the streets of New York an ominous, grimy feel suits the oppressive beliefs of Sam Bullit perfectly, and whilst Stan's dialogue is hardly subtle, I would argue that the point he's trying to make is worth being a little bit heavy-handed about. Another triumph from this era of ASM.

Rating: 5/5

Next time, the race to stop Bullit winning the election intensifies, as Iceman enters the fray to do battle with the web-slinger...

The Amazing Spider-Man (Vol. 1) #90

 "AND DEATH SHALL COME!"

Writer: Stan Lee/Penciller: Gil Kane/Inker: John Romita Sr./Letterer: Sam Rosen/Editor: Stan Lee/Cover Art: Gil Kane and John Romita Sr.

Synopsis: Spider-Man and Doctor Octopus battle to the death, but it won't be either of them that is fated to die...

Review: It seems fitting that my 100th post on this blog is a review of such a landmark issue as ASM #90. This issue represents a real turning point in the history of Spider-Man, as it was the first time a major supporting character was permanently killed off. Yes, Foswell was killed defending Jameson back in ASM #52, but Foswell had always been a pretty shifty, untrustworthy character, and by the time he died, he could hardly be called a core member of Spidey's supporting cast in the same way that George Stacy was by the time this issue was printed. At the time of publication, Captain Stacy's death was the most significant character death since Uncle Ben. The fact that both characters are elderly men who represent father figures to Peter is probably no coincidence.

The thing that may surprise some readers coming to this issue for the first time is that there's absolutely no foreshadowing to Stacys's death. What we get is a regular issue that acts as a conclusion to the Doc Ock trilogy, but Stacy just happens to die at the end. In the interim, what we get is very much in the vein of the previous issue, with lots of excellent action between Spidey and Doc Ock, including an absolutely wonderful sequence at the start of the issue in which Spider-Man evades Ock's tentacles when they chase him through a building and through an air vent; this is terrific stuff, and forcing the web-head to stay completely still so the tentacles don't detect that he's there makes for some top notch tension. Kane really nails Doctor Octopus by emphasising the snaky, complex web of his tentacles; these are the most intricate pieces of Ock artwork we've seen since Ditko's time, if not ever.

I also rather like the way in which Spider-Man defeats Ock in the end, as it's another example of Peter using his scientific brain to solve a problem rather than brute force. It's a rather far-fetched solution, but it's pretty ingenious and original all the same: he devises a new chemical formula for his web-shooters that acts a jamming 'device' to block Doctor Octopus' telepathic commands to his arms, causing them to attack each other, and eventually, their creator. It's a pretty smart idea, but ultimately the unpredictable thrashing of Ock's arms is the thing that leads to Captain Stacy's death, so I imagine Peter's cursing his scientific knowledge for once in his life. I will say that it is a bit disappointing that as soon as Stacy has been injured, Ock is completely forgotten about, despite presumably still being at the mercy of his tentacles. What happens to him? Does he get arrested? Taken to hospital? We don't get any answers here, or in the next issue. The limited series Spider-Man: Death and Destiny may provide the answers, but at time of writing, I must confess that I've not read it.

Stacy's death itself is an incredibly impactful scene, as you would hope it to be. He fatally injures himself saving a small boy from being crushed by falling rubble dislodged by Ock's mindless tentacles, and dies in Spider-Man's arms up on a rooftop. It's a quiet, intimate scene that acts as a fitting end to Stacy's story, particularly as he reveals that he knows that Peter is Spider-Man; Peter suspects that the old man always knew, and I tend to agree with him. Peter's final promise to Stacy, that he will love and cherish and take care of Gwen, is truly tear-jerking, especially given what we know with hindsight. In the issues to come - for the next several years, in fact - we'll see Spider-Man accused of murdering Stacy, and the fallout that comes with that, but for now, let's just allow ourselves to soak in the moment of the passing of one of Peter's most stalwart of supporting characters.

ASM #90 is almost perfect; it's only crime is forgetting about what happened to Doc Ock so quickly, but everything else is firing on every cylinder going. The artwork by Kane is simply divine - I really wish we'd got more from him - the action is just as tremendous as the previous issue and that final shock moment still packs a punch all these decades later. It's probably my least favourite of this Doc Ock trilogy, if only for the way Ock himself gets cast by the wayside, but it's still a terrific story, and essential Spider-Man reading nonetheless.

Rating: 4.5/5

Next time, the public turns against Spider-Man as the man called Bullitt stirs up hatred amongst the people of New York...

The Amazing Spider-Man (Vol. 1) #89

 "DOC OCK LIVES!"

Writer: Stan Lee/Penciller: Gil Kane/Inker: John Romita Sr./Letterer: Sam Rosen/Editor: Stan Lee/Cover Art: John Romita Sr.

Synopsis: Doctor Octopus survived the plane crash he was thought to have died in, and is back for a deadly battle with Spider-Man...

Review: There's not much to talk about regarding the plot of this issue, as there isn't much of one. It's another all-out action story, with most of the pages dedicated to a massive fight between Spider-Man and Doc Ock. Regular readers will know that I'm not much of a fan of these 'one big fight' issues, but I have to make an exception here (to be honest, I feel I say that I'm making an exception almost every time we get a 'one big fight' issue) because it really is incredible stuff.

Issues #89 and #90 contain some of the all-time greatest Spider-Man/Doc Ock fights there have ever been, and I think this is largely down to Gil Kane, making his debut as a Spidey artist here. Kane's style is immediately different from Romita's, featuring more interesting panel layouts and more dynamic - even cinematic - angles. Kane's work on Spider-Man has an atmosphere all its own, and he lends this last stretch of Stan Lee penned issues a raw, gritty vibe that we'd never really seen in ASM before, and I would argue that we'll never see it again once he departs. As well as providing us with some truly phenomenal and creative action during the fight scene, Kane imbues the brief scene of Peter in his civilian identity with so much mood that it makes for equally exciting reading. The streets of New York are cracked and covered with litter, a nice reflection of Randy Robertson's preoccupation with air pollution throughout the scene, as well as doing a nice job of making the city look more like...well, an actual city. New York becomes more of a character than ever before with Kane on art duties, and the way he constantly varies up his angles makes for engaging reading; even something as simple as Peter throwing a newspaper in a trash can is visually exciting.

I really do feel that this is one of those issues where my words could never do justice to just how brilliant it is, so I present some samples of the only evidence you should need to seek this issue out: the artwork of Mr Gil Kane...

ASM #89 is something of a pause story-wise between the other two instalments of this new Doc Ock trilogy, but Lee and Kane make sure that it doesn't falter in the excitement. I may praise the Master Planner Saga as the greatest Spidey story of all time - and it is - but my only complaint about it is that the fight between Spider-Man and Doc Ock is over too quickly when it should have been one of the most epic battles they've ever had. THIS is that battle; it just came four years later, and it's not even done. The final two pages, in which Ock lifts Spider-Man above his head and throws him to the street below in a phenomenal final splash page, is nothing short of brilliant; a masterful piece of dramatic comic book pacing. Thankfully, unlike the readers of 1970, we don't have to wait a whole month to find out what happens next.

Rating: 5/5

Next time, Spider-Man and Doctor Octopus battle to the death...

The Amazing Spider-Man (Vol. 1) #88

 "THE ARMS OF DOCTOR OCTOPUS!"

Writer: Stan Lee/Penciller: John Romita Sr./Inker: Jim Mooney/Letterer: Sam Rosen/Editor: Stan Lee/Cover Art: John Romita Sr.

Synopsis: A Chinese general is flying aboard a 747 to Kennedy International Airport for a summit in America, but the plane is hijacked by none other than Doctor Octopus...

Review: It really has been too long since we last thrilled to Doc Ock - 32 issues to be exact - but I'd much rather they only brought him back when they have a really great story for him to feature in, and this opening act of a new Doc Ock trilogy is most certainly up to par with his previous appearances; this is probably the best issue we've had since ASM #78.

The big thing that stands out to me about this issue is just how fast-paced and kinetic it all is; it's pretty much action all the way, but without ever feeling shallow or repetitive. There's enough time spent with the characters to break up some the more visually dazzling moments, and the action itself is absolutely top notch. In many ways, Stan and John peak a bit too early by including a brief but incredible fight sequence between Spider-Man and Ock's mechanical arms - controlled by their creator from afar - pretty much as soon as the issue's started. This is a truly terrific scene, with plenty of destruction and some beautiful action shots of Spider-Man by Romita. The whole concept is just fabulous as well; I love those rare moments we see of Ock controlling his arms mentally when they've been separated from his body. Even without their creator attached to them, they're still formidable weapons.

The stuff on the plane is another highlight for me; anything set in an enclosed, claustrophobic environment is pretty much guaranteed to get me interested, and whilst the whole hijacking scenario is hardly 'claustrophobic', it's still tremendously exciting; seeing Ock tear through the walls of the plane, overpower the armed guards and take hostages, all without breaking a sweat is just such a wonderful display of the character's power; I have really missed seeing this guy in action. If I had to level one complaint at the scenes set on the plane, I feel that there's a bit of a missed opportunity by not involving Jameson a lot more. He's on the plane as well, so why not cut to him grumbling about the hold-up every now and again for a bit of comic relief?

I can't complain too much, as everything else in the issue is just so brilliant; even the majority of the scenes with the supporting cast carry that same frenetic, pacy energy that the action scenes have; this issue has some of the best momentum - I feel - of the entire Lee/Romita era; seeing Peter and Robbie rush into action when they hear the plane's been hijacked is particularly enjoyable. There's also something of a revisit to the student protests of ASM #68, as we see a bunch of people condemning General Su's presence in America, but not a lot's really made of this other than Captain Stacy commenting that the protestors will cause mayhem if they break out onto the airfield - which they never do. It's not even that clear what they're protesting about; one of them calls Su a 'warmonger', but we get no more than that, and there's not exactly any evidence to support this person's accusation, other than the fact that Su is a military figure, I suppose. I'm assuming that Stan and John wanted to reflect the steadily improving Sino-US relations around this time period, but weren't quite sure how to handle it, so just dumped some vague references in this issue, and much as I admire them for attempting the subject, I do think it comes across as an afterthought.

We get a brief bit of Peter and Gwen early on in the issue which acts as the only relaxed portion of the whole thing, and it's nice to see the two of them just getting along and enjoying their relationship instead of the drama we usually see - trust me, that won't last long. It's also interesting from a fan's perspective to read the scene between Peter and Professor Warren, who is very friendly and concerned when Peter's grades begin to slip; he really was a completely different character before Gerry Conway took over the writing duties.

ASM #88 brings back one of Spidey's greatest villains in cinematic style. It's a terrifically paced, mile-a-minute issue that doesn't let up for a single second. I could have done with a bit more Jameson goodness, and the ending is a little bit abrupt, but those are very minor comments when weighed up against everything else. This is the best issue in quite a long time, and it's only the first instalment in a trilogy.

Rating: 5/5

Next time, we're introduced to our new artist in Gil Kane, as Doc Ock runs riot in the city... 

The Amazing Spider-Man (Vol. 1) #87

 "UNMASKED AT LAST!"

Writer: Stan Lee/Penciller: John Romita Sr./Inker: Jim Mooney/Letterer: Sam Rosen/Editor: Stan Lee/Cover Art: John Romita Sr.

Synopsis: As his spider powers seem to be failing him, Peter groggily makes his way to Gwen's birthday party, where he reveals the secret he's been keeping for all these years...

Review: As I said way back in my review of ASM #12, whenever a superhero comic teases the protagonist's secret identity being revealed on the cover, nine times out of ten this is a complete fake-out. This issue is no exception; it promises the reader that Peter's secret will be out at long last - the cover even tells us that if we only read one comic this month, it must be this one - and yet once we get into the story itself, we find that it's the same old cop-out nonsense. With that said, I do still rather like the issue.

In many ways, it's a bit of a brave experiment. An issue with no action whatsoever - unless you count Spider-Man weakly ripping a metal cupboard open as action - and no supervillain to fight, not even a petty criminal. Considering that so much of the Romita era can be accused of being style over substance, this is something that feels very different in its approach, without losing any of that stunning Romita artwork that we've come to love. This means we also get a lot of scenes with the supporting cast, and as always, this makes me very happy. Lots of panels dedicated to Gwen, MJ, Harry, and Captain Stacy, and even Randy Robertson and Josh Kittling turn up to Gwen's party, even if they're only seen briefly. More than any issue since perhaps the early days of the Romita era - certainly since ASM #68 - this spotlights the supporting cast a lot and gives the book that soap-opera feel that it hasn't managed to recapture until recently. I particularly get a kick out of Mary Jane in this issue; her comment to Gwen that Peter's "either a masked menace...or a psycho case" is wonderfully wry.

Peter himself is certainly acting out of sorts throughout the whole issue, and there are several pages dedicated to him randomly traversing the city, worried about what's happening to him. We get an answer to that question in this issue, and it's as disappointing as the cop-out about his identity being revealed: Peter has a bad case of the flu. The flu. All of that drama and all that was plaguing him was the flu. Not only is this immeasurably underwhelming, but I have to question Stan and John's depiction of the flu and its effects. Why does it make Peter randomly decide to steal a pearl necklace from a store for Gwen's birthday? Yes, the flu can make you groggy but it doesn't turn you into a bumbling, delirious imbecile. With all that said, the moment in which Peter arrives at Gwen's party, Spidey mask in hand and confessing his secret is genuinely impactful even though we know it's going to be undone by issue's end, mostly because of Romita giving the moment an entire splash page to itself.

Peter's solution to his problem once he's recovered from that lethal, kleptomania-inducing case of the flu? Why, find Hobie Brown of course, and ask him to don the Spider-Man costume when Peter returns to Gwen's house to make it look as though Peter and Spider-Man are two separate people. It's nice to see Hobie again, and this wrap-up does give us a cool scene where Peter swings around the city in his street clothes and a web mask - I always like seeing Peter go into action in his civvies - but much like Peter's ludicrous attempts at fooling Gwen and her dad from Issue #85, I have to ask how on earth Peter's friends are so gullible to believe this obvious ruse; surely Hobie's voice in the costume sounds completely different to Peter's?

It's strange that such a monumental moment - or something you would expect to be one - is essentially a filler issue. There's nothing much of importance that happens here - although Peter's ploy with Hobie will come back to bite him in a few issues' time - and everything's all wrapped up nice and neatly by the end. As said, I admire it for its experimentation, and it's a blast seeing so much of Gwen, Harry and rest of the gang, but I still feel that the issue is ultimately another big cop-out, in more ways than one. The flu? Seriously?

Rating: 3.5/5

Next time, Doctor Octopus returns...

The Amazing Spider-Man (Vol. 1) #86

 "BEWARE...THE BLACK WIDOW!"

Writer: Stan Lee/Penciller: John Romita Sr./Inker: Jim Mooney/Letterer: Sam Rosen/Editor: Stan Lee/Cover Art: John Romita Sr.

Synopsis: The Black Widow is on a mission to reinvent herself, and so crafts a new costume along with new weaponry, with the aim of taking on Spider-Man...

Review: This issue is little more than a shameless plug for a Black Widow feature that was about to debut in Marvel's Amazing Adventures, something that Stan himself admits to towards the end. It's not a bad story necessarily, but it wears its true intentions on its sleeve, and I think that this is ultimately to its detriment.

The Black Widow's scenes are largely expository, with her giving a cliff-notes version of her comic book history up to this point, and if you weren't already a reader of Iron Man, The Avengers or Nick Fury, I'm sure that this whole recap was pretty baffling. I know a fair bit of the lore anyway, and even I was left scratching my head at points; God knows what the uninitiated would make of it. Obviously, the most significant development for the Widow in this issue is the debut of her new look, a sleek black catsuit that has remained her iconic outfit ever since, and it's all down to Romita's talent for drawing beautiful women; despite my generally negative impression of how Black Widow is implemented in this story, I have to admit that Romita makes her an immediately striking figure.

My biggest problem with the character is not so much the expository dialogue, but the total lack of explanation for her actions. Why does she feel that she has to find out the secret to Spider-Man's powers? Why does she randomly decide to model herself on him when the two have absolutely no history prior to this issue? What is she even trying to achieve? We know that she wants to leave the past behind her and reinvent herself, but as what? A hero? A villain? We get absolutely no explanation for anything, and it makes her involvement in the issue feel even more like an advert for another comic. To top it all off, she runs away from her fight with Spider-Man at the slightest sign of trouble, even though she had managed to gain the upper hand. What kind of a badass protagonist does that? Not exactly the best way to show off your cool, kickass new comic, by having the main character look like a total pushover.

So, the Black Widow stuff's a bust, but the scenes with just Peter are pretty great in all honesty. We get some nice drama between him and Gwen, who tells him that he needs to stop putting himself in danger for Bugle photos, or they're finished. It's around this time that Peter's life gets more and more out of control with each issue, to the point where he reaches his lowest ebb yet seen, but more on that when we get to it. There's also the beginning of a potentially intriguing new development, as Peter seems to be losing his spider powers; I absolutely adore the final scene with Peter questioning whether after all these years of wishing he had a normal life, perhaps a normal life is what he fears most. Romita manages to evoke some classic Ditko-hysteria vibes from these panels; it's brilliant stuff, and easily the best thing about the issue.

ASM #86 feels very much like a stop gap, a vibe that will continue into the next issue, but it's not without its good points. The scenes with Peter and the supporting cast are all solid, and I love to see some good old-fashioned Peter Parker angst on the last page. Where the issue falls flat for me is all the Black Widow stuff...so, kind of...the plot. It makes no sense and is clearly just a way of plugging a new comic that only lasted eight issues anyway.

Rating: 2.5/5

Next time, Peter Parker finds himself unmasked at last...