Daredevil #19

Alone– Against the Underworld!

Featuring: Daredevil
Release: June 2, 1966
Cover: August 1966
12 cents
Script: Masterful Stan Lee
Art: Magnificent Johnny Romita
Inks: Melodramatic Frank Giacoia
Lettering: Melancholy Sam Rosen
20 pages

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“You’ve got to confess that it was a hoax!”
“But then I’ll never have a chance with Karen!”

Hello. Happy new year. Welcome to this blog. We will be reading along with Daredevil #19, the 548th comic in the story that is the Marvel Universe, by our reckoning.

We’ve had a busy few months and found some complications in the Marvel Universe, which unfortunately delayed this latest entry. I thank the readers for their patience.

Without further ado, let’s try to recall that Foggy has recently been pretending he was Daredevil in order to impress Karen. The ruse led to Foggy finding himself in a Daredevil costume, battling a new super-villain called the Gladiator. This all began when Spider-Man mistook Foggy for Daredevil while searching for the Masked Marauder. The Masked Marauder remains at large.

Foggy does not seem to have learned a lesson from last issue’s shenanigans.

Gladiator is off to jail. But he is rescued by the Masked Marauder.

Gladiator isn’t the type to work for someone else, so they need to have a villain fight until they agree the Masked Marauder is in charge. Though we’ll see it’s not quite settled. Later, they’ll settle for being equal partners.

Did Daredevil break Foggy’s window? I guess Foggy had it coming.

Foggy opens the door for some goons because he thinks they are reporters. While I don’t wish death on Foggy for being stupid, at some point natural selection may just take its course.

Fortunately Daredevil is on hand, smashing the already smashed window? Smashing a different window of Foggy’s?

Foggy does help a bit.

Foggy expects the landlord to take care of the windows and the mess. He has a much more generous landlord than I’ve ever had, if so.

Karen is surprisingly cool with how stupid Foggy has been, endangering himself and all of them. She even gives him a kiss on the cheek. This makes Matt jealous until he hears Karen say he’s wonderful.


Astute readers may be noticing we’d long ago read the Namor story from Tales to Astonish #80, but still haven’t read the Hulk story, even though that came out in March. Nor have we read any Hulk/Namor stories since then.

Very astute readers may notice my original reading order called for us to be catching up with Hulk and Namor right now with the May comics, but that I changed up the order and am reading through some June comics instead.

Part of the reason for the delay since I made the last Thor post was that the continuity related to the Secret Empire, Them, and AIM overwhelmed me somewhat. That combined with a recent move across an ocean. I think I’ve gotten it all sorted. I had thought Daredevil would be one of the titles not caught up in the wave of stories about secret evil organizations, but I was wrong. Because Foggy defended the Rhino, and Peter Parker bought a new cycle, and Thor attended an Avengers meeting… I realized I did need to get this Daredevil issue out of the way first.

The plan now is to read some sufficiently standalone June/July comics, then read ahead a bit in Thor until we reach a point we are happy to have him chilling on Earth. And then we’ll dive in headfirst to the saga of the Secret Empire in an attempt to make sense out of it. (Spoiler: we won’t make any sense out of it.)

Besides, we all need closure on this Masked Marauder/Gladiator stuff sooner than later.


For the moment, let’s see what else is going on in the world of comics in June 1966, and then we’ll head back in time to D-Day with the next post.

Marvel has been reprinting older comics in Fantasy Masterpieces and Marvel Tales. This month adds another book, Marvel Super-Heroes, a one-off king-sized special, reprinting three old tales, featuring the Avengers, Daredevil, and Sub-Mariner, respectively.

Here’s a sampling of the Brand Echh publishers from the month.

  • Archie Giant Series Magazine #140, Archie
  • D-Day #4, Charlton
  • Timmy the Timid Ghost #45, Charlton
  • Action Comics #340, DC
  • Adventures of Bob Hope #100, DC
  • Falling in Love #85, DC
  • Flash #163, DC
  • Werewolf #1, Dell
  • Dennis the Menace Giant #42, Fawcett
  • Honey West #1, Gold Key
  • Little Dot’s Uncles and Aunts #18, Harvey
  • Spyman #1, Harvey
  • Popeye #81, King Features
  • Captain Marvel Presents the Terrible Five #1, MF Enterprises
  • Dynamo #1, Tower
  • Eerie #5, Warren

The lawless Dot is up to her usual vandalism. Lots of publishers mashing up the superhero/spy genres. Parasite is a notable new Superman villain. That’s a pretty famous Flash cover. Dynamo is a spin-off from Wally Wood’s THUNDER Agents.

The version of Captain Marvel above is famous mostly for his name. A short-lived character, after Fawcett stopped publishing the more famous Captain Marvel due to a lawsuit from DC and lost the trademark. Marvel has taken note of the comic, and will decide soon that it wants the name for itself.

Rating: ★★★☆☆, 53/100
Significance: ★★★☆☆

I read this story in Daredevil Epic Collection vol. 1: The Man Without Fear.

Characters:

  • Matt Murdock/Daredevil
  • Foggy Nelson/not Daredevil
  • Gladiator
  • Masked Marauder
  • Karen Page
  • Big Joe

Story notes:

  • Foggy still pretending to be Daredevil to impress Karen.
  • On the way to protect Foggy, DD stops to save a worker after the scaffolding broke.
  • Daily Bugle headline reveals Foggy is Daredevil.
  • Masked Marauder’s goons disguised as press greet Gladiator with cameras that shoot gas to break him out of police custody.
  • Battle for dominance between two villains; Masked Marauder wins at first with his Opti-blast.
  • Sensitive touch and hearing make lock picking easy for Daredevil; he looks for clues at costume shop where Foggy bought the costume.
  • Goons picked from elite of the underworld to form Empire of Crime.
  • Top of Marauder’s mask made of strongest cushioned steel.
  • Big Joe a particularly tough hood.
  • Goon reports to Marauder and Gladiator that Nelson is not Daredevil.
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Amazing Spider-Man #39

How Green Was My Goblin!

Featuring: Spider-Man
Release: May 10, 1966
Cover: August 1966
12 cents
Script: Smilin’ Stan Lee
Art: Jazzy Johnny Romita
Inks: Mighty Mickey Demeo
Lettering: Adorable Artie Simek
20 pages

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And so, at long last– The Green Goblin will introduce himself– Take a look, Parker– a good, long look– It’s the last face Spider-Man will ever see– It’s the real face of the Green Goblin– the face of [SPOILER REDACTED]

Steve Ditko has officially left Marvel, which won’t leave me with too many other excuses to bring up Steve Ditko. However, this is the first issue of Spider-Man to not be drawn by Steve Ditko. Which is a fine excuse for bringing up Steve Ditko.

Which is good, as Rolling Stone just put out this piece on the man’s life, based on interviews with relatives, and I’m happy to have an excuse to share it: https://www.rollingstone.com/culture/culture-features/steve-ditko-spider-man-life-legacy-1235047781/

Among those interviewed was Steve’s younger brother, Patrick Ditko, who passed away just last month.

I’ve made no secret how much I love Steve Ditko’s work on Amazing Spider-Man, and have spent this blog clumsily trying to explain why over 38 issues worth of posts. Perhaps this characterization of Spider-Man from the Rolling Stone article gets to the core of how I see myself reflected in the character.

He lacked social skills.

A more charitable interpretation of my own character is perhaps found in their characterization of Steve Ditko as a man…

…who never fit into social norms, yet cultivated thriving relationships.

They go on.

Similar to how Peter Parker never lets loved ones get too close for fear it would put them in danger, Ditko compartmentalized his life, keeping work and family distinct to retain some power in a world that overwhelmed him. And the same way Spider-Man’s neuroticism makes him amazing, the traits that people marginalized Ditko for are what transformed comics forever. 

…he had much more in common with his most popular co-creation, Spider-Man, especially his alter ego, Peter Parker. They had the same lanky build. Same comb-over. Same thick glasses. Same bumbling social skills. Ditko’s senior-yearbook photo could have been Parker’s. With their collared shirts and slacks, it looked as if they shopped at the same clothing store —

The late comics retailer Bob Beerbohm assembled this high school photo of Ditko next to high school Peter Parker. Perhaps there is a lot of Ditko in Peter.

So what then is Spider-Man without Steve Ditko? Is the series over?

In some sense, it is plainly not. We have here issue 39. Stan Lee continues to write the comic and has found a new artist to draw it (and probably soon to do most of the writing as well).

If issue 38 was the ending, it wasn’t a clean one. Lots unresolved. Betty is missing. Gwen and Peter are growing closer. Norman Osborn is up to some shady stuff. We never learned the secret of the Green Goblin.

Some say the reason Ditko left Spider-Man is because he and Stan disagreed over the secret of the Green Goblin. We’ll reflect on that at the end of the post.

For now, let’s see what life after Ditko looks like for the Amazing Spider-Man.

John Romita is on art. Unlike Ditko, he tends to draw good-looking people. His career in advertising taught him well to draw good-looking people.

Continue reading “Amazing Spider-Man #39”

POSTLUDE: Marvels #3

Judgment Day

Featuring: Marvels
Release: January 25, 1994
Cover: March 1994
$5.95
Writer: Kurt Busiek
Artist: Alex Ross
Letterers: Starkings w/ John Gaushell
Editor: Marcus McLaurin
Assistant editor: Spencer Lamm
Editor in chief: Tom DeFalco
Cover design & logo: Joe Kaufman
Interior Design: Comicraft
45 pages

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Marvels #2MarvelsMarvels #4

And then it was quiet. No one around. They were all inside– or gone. Was this what it was going to be like? Silence and emptiness– forever?

We again jump back to 1994. As noted in this post, which serves as something of a vision statement, my goal here is to be able to reread my first comic, Avengers #309, but this time with full context, without feeling like I was missing anything or that I had read things out of order. More than that, it’s an attempt to try to see decades of disparate titles by a variety of creative voices as telling a larger single story.

I see Marvels, the masterpiece by Busiek and Ross, as an attempt to come to terms with that same story, and then to tell it in miniature. In general I try to take a contemporaneous viewpoint, looking at our 1966 stories from the perspective of 1966, and not spending too much thought on what later stories have to say. Marvels is the exception, as I’m using Marvels to frame our reading and my thinking about this reading.

For example, we jumped a little bit ahead in our X-Men reading lately. The rush through X-Men was to line up with this issue of Marvels. I was eager to read this comic right after the Galactus saga, but knew I had to hold back until after the X-Men battled Count Nefaria. And the choices in reading order we made with respect to the Avengers and Fantastic Four stories were inspired by how Marvels presented them.

There is no other later series I let impact my thinking on these stories. That’s born both out of a love of Marvels and its creators, and a trust in Kurt Busiek to have done his homework.

As this post is a bit long and picture-heavy, I’ve broken it into two parts.

The series Marvels covers the Marvel Universe from 1939-1973. I don’t know how far this blog will go before I get bored or die, but I’m hoping to at least hit 1973 and finish Marvels. But that is several years away.

There’s also a bit of timing in the writing of this blog that has recontextualized Marvels and the stories it represents again. I started this blog in 2019 and reached Marvels #1 in 2020, and found new meaning in Phil’s desire for the world to return to normalcy. I write this blog post in 2024, with 2020 four years in the past, but the pandemic continuing to affect lives in big and small ways.

Marvels #1 starts with the dawn of Marvel in 1939 and takes us into the war in Europe, likely around 1943. We then jump forward 20 years and Marvels #2 covers the ground of part of our reading. It skips the introductions of most of the heroes and takes us to 1964 and Avengers #6 (May 1964), then ends in 1965 with Tales of Suspense #69 (around July 1965). Its focus was on the juxtaposition of two major events, the wedding of Reed and Sue in Fantastic Four Annual 3, and the introduction of the Sentinels in X-Men #14-16.

Thinking in terms of Fantastic Four, a title which has been a monthly constant in our reading, Marvels #2 covers the ground of approximately Fantastic Four #29-43.

Marvels #3 will cover a little less ground, Fantastic Four #44-50, bringing us to around February 1966. And most of the page count is dedicated to recapturing a single story, the battle between the Fantastic Four and Galactus in Fantastic Four #48-50. Due to its wonky arrangement with other stories, the original battle only covered about 48 pages of comics originally, so the retelling in miniature is not actually that much shorter, taking up almost 32 pages.

Of course, this retelling will not be from the perspective of the Fantastic Four, but our man Phil Sheldon.

The story has been about Phil, but also about his changing opinion of the Marvels. In the 1930s, he thought they were something to fear when he first saw Human Torch and Sub-Mariner, but came to conclude they were something to cheer on when he saw Captain America, and then all the heroes teaming up against Nazis. He continued to cheer them on into the 1960s, loving the Fantastic Four and the Avengers… but not the X-Men. Mutants, he hated. Though he grew a bit by the end.

Now he begins to wonder if he’d put a bit too much faith in all the Marvels, put them too much on a pedestal. As they become embroiled in controversy after controversy… had he overestimated them? He begins to have doubts.

And then the sky fills with fire.

Continue reading “POSTLUDE: Marvels #3”

Fantastic Four #50

The Startling Saga of the Silver Surfer!

Featuring: Fantastic Four
Release: February 10, 1966
Cover: May 1966
12 cents
Script: Stan Lee
Art: Jack Kirby
Inks: Joe Sinnott
Lettering: S. Rosen
20 pages

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Master! For the first time I realize the dread enormity of what you plan to do! You must not tamper with other worlds! You cannot destroy the entire human race!

Would you hesitate to tread upon an ant hill? These creatures are of no consequence to Galactus!

These are not ants, Master! They think… they feel… they have even created the primitive civilization which we see all about us!

Master! Say we may leave this world! My heart grieves at battling one with whom I shared… a universe!

You speak of me as though I am a monster! Do not the humans themselves slay the lesser beasts for food… for sustenance? Galactus does no less!

Galactus is not evil! He is above good.. or evil! He does what he must… for he is Galactus!

Emulate the Watcher! Stand and observe! Try to fathom the cataclysmic forces which have been unleashed! For you shall never see their like again!

Long have I cherished the stumbling, bumbling, but always aspiring human race!

Consider the courage they display! Though they are still in their infancy, you must not disdain them! Did not your race… and mine… evolve from such humble beginnings? Do they not possess the seed of grandeur within their frail, human frames?

And at last I perceive the glint of glory within the race of man! Be ever worthy of that glory, humans… be ever mindful of your promise of greatness! …For it shall one day lift you beyond the stars.. or bury you within the ruins of war!! The choice is yours!!

Generally, my plan is to pick a single quote from each issue to open these posts. I cheated last issue and am doing so again this issue. Too many great quotes. Also too many great images.

This isn’t the worst cover we’ve seen, but it is the most disappointing. Compare it to the awesome first page.

That’s a cool image. But the cover? No Galactus? The FF just as floating heads? Just a shot of the Silver Surfer. With the corner of the cover devoted to Johnny at college? What?

Notice they seem to have gotten the coloring of Galactus basically right now. Purple over red, wearing pants. Still bare arms, but that’s fine. Third time’s the charm. Here’s how it looks in the digital version with modern coloring.

I think the conclusion of the Galactus saga is excellent, but the structuring of this issue is again weird. To appreciate that, I’d like to peek ahead a few pages.

Recall where we were. Galactus is about to destroy the entire world in order to convert its resources into energy to feed himself. His herald has been convinced by Alicia that human life matters, so Silver Surfer has decided for the first time in countless eons to defy his master. Meanwhile, the Human Torch has journeyed across the universe to the giant space station that is Galactus’ home, to find the one weapon that may yet save them.

With all that to wrap up ahead of us, this is page 15.

We meet Coach Thorpe, who is very concerned his college football team is performing poorly. And his star quarterback is giving him attitude.

I cannot even begin to explain the surreality of the contrast between the first and fifteenth page of this comic.

Maybe it will make sense as we go on.

It won’t.

Continue reading “Fantastic Four #50”

Tales of Suspense #78

Crescendo!

Featuring: Iron Man
Release: March 10, 1966
Cover: June 1966
12 cents
Spectacular story by Stan Lee
Pace-setting pencilling by Gene Colan
Indescribable inking by Gary Michaels
Lonesome lettering by Artie Simek
12 pages

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Ultimo, who never really lived– is now truly dead!

Stark factories are closed because Senator Byrd has cancelled the Defense contracts. Tony Stark is missing because Iron Man is in Asia battling Ultimo, the android creation of the Mandarin.

We get a cool time lapse splash page. Ditko often did these time lapse panels in his Spider-Man stories.

Of course, the flip side of all these splash pages and large panels is we get fewer panels to tell the story.

Continue reading “Tales of Suspense #78”

Daredevil #16

Enter… Spider-Man

Featuring: Daredevil
Release: March 3, 1966
Cover: May 1966
12 cents
Sagacious script by: Stan Lee
Phantasmagoric pencilling by: Johnny Romita
Iconographic inking by: Frankie Ray (nee Giacoia)
Lachrymose lettering by: Artie Simek
20 pages

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Let’s talk about your costume! Those red longjohns break me up– but I liked your old yellow duds better! … I mean they matched your new yellow streak!

This might be the first time we learn the true identity of Frankie Ray, really Frank Giacoia. For a lot of these people, the aliases are about not sabotaging regular gigs with Marvel’s competition. Frank Giacoia was a regular DC artist at the time, and hadn’t necessarily wanted them knowing he was freelancing for Marvel. But at some point it becomes clear, or his Marvel gig becomes the more regular gig, and it just stops mattering. Though by this point Marvel fans might know him best as Frank or Frankie Ray and not recognize the name Frank Giacoia.

Just like they might be confused if a comic were credited to Stanley Lieber or Jacob Kurtzberg.

That’s a great cover by Romita and Giacoia. The cityscape is detailed but the lack of color keeps it subtly in the background, leaving the focus on the two colorful characters. This is our first chance to see Spider-Man as rendered by John Romita. He captures that sense of agility that Ditko creates, and you can feel the motion of the cover, even without the helpful motion lines.

We’ve talked a bit about the tension in the pages of Amazing Spider-Man. Lee and Ditko aren’t getting along and Ditko is looking out the door. Lee is well aware of this, but has a huge problem. Spider-Man is his best comic, indelibly associated with Steve Ditko. You can’t just throw anybody on the book. Jack Kirby is Stan’s go-to artist when he needs a good one, but Jack had drawn Spider-Man a couple times by this point, and it was never right. And Jack’s style– while perfect for Fantastic Four– just wasn’t Spider-Man. Nobody was Steve Ditko.

We talked in the last issue about John Romita, who recently passed away. He’s been on Daredevil since Wally Wood left, following a succession of legendary talent from Bill Everett to Joe Orlando. And Romita has been more than up to the task of making his own mark on Daredevil.

But John Romita is not famous for drawing Daredevil. And while he excelled at the romance comics he had been drawing, that’s not really what made him a household name amongst fans. His step into legendary status will come with his next assignment, and this issue will serve as his audition for that assignment.

So, how well can John Romita draw Spider-Man? Let’s find out.

Continue reading “Daredevil #16”

Tales to Astonish #62

Giant-Man Versus the Wonderful Wasp!

Featuring: Giant-Man and Wasp
Release: September 1, 1964
Cover: December 1964
12 cents
Written–as if you couldn’t guess by now–by smilin’ Stan Lee!
Drawn–and here’s a little twist for you–by capricious Carlos Burgos!
Inked–as if he knew what he was doing–by devestatin’ Dickie Ayers
Lettered–as though each syllable is a gem–by amenable Artie Simek
12 pages

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The cover is vertically split between the two stories. This will be a common format for these shared titles. Hulk’s story comes first on the cover, but the issue opens with the Giant-Man and the Wasp tale.

Don’t think we’ve ever seen Dick Ayers referred to as Dickie before. Carlos Burgos is normally Carl Burgos, who we recall is the creator of the original Human Torch. He’s already shown up once in the Marvel Age to draw a story with the new Human Torch. Art sometimes does go by Artie.

Giant-Man has found a way to make plants grow, as well as humans. It’s a little confusing, as he was able to shrink a chair before he shrank himself. His original goal for the technology was to revolutionize shipping. Originally, it was a liquid he pored on something (an object or his skin) to make it shrink. Then he got it into pill form. Lately, he’s been able to use his cybernetic helmet to make both himself and the Wasp change size with his thoughts. His plant growth serum comes in the form of a spray. He thinks he can use it to help with agriculture and solve world hunger.

Continue reading “Tales to Astonish #62”

Amazing Spider-Man #12

Unmasked by Dr. Octopus!

Featuring: Spider-Man
Release: February 11, 1964
Cover: May 1964
12 cents
Written in the white heat of inspiration by: Stan Lee
Drawn in a wild frenzy of enthusiasm by: Steve Ditko
Lettered in a comfortable room by: Art Simek
22 pages

We’re reading this story an entire month early. A few reasons for this. One is that a lot of plot and thematic elements remain unresolved from issue 11. So these two issues read well together. The other is that I’ll be shuffling around a lot of Avengers-related comics due to chronological complications, including Spider-Man’s upcoming guest appearance in Tales to Astonish. I’ll be pulling that story forward, which also pulls this story forward.

Since the Dr. Octopus subplot remains unresolved from last issue, I think it’s best if Spider-Man’s guest appearances with Human Torch or Giant-Man don’t break up these issues.

Just keep in mind this comic was actually was published after a lot of the exciting events we are about to read, including the return of Captain America, the introduction of Black Widow, the epic Thing/Hulk showdown, and the introduction of Daredevil. But I think it reads better before all that. So here we are.

This is actually one of my very favorite Spider-Man comics. Let’s dive in.

We see a Daily Bugle article in an unusual level of detail. Spider-Man is blamed for letting Dr. Octopus escape by interfering in police business. Jameson’s articles are often over the top, but this seems a reasonable assessment to me. Spider-Man is a child who barged into a delicate hostage situation. One person was killed and the villain escaped. We know he did his best, but he is an amateur. Nonetheless, Spider-Man is outraged by the article. He should perhaps instead be remorseful about Bennet’s death. That’s what happens when you provoke a criminal into wildly firing shots.

Continue reading “Amazing Spider-Man #12”

Amazing Spider-Man #4

Nothing can stop… the Sandman!

Featuring: Spider-Man
Release: June 11, 1963
Cover: September 1963
12 cents
By: Stan Lee and Steve Ditko
21 pages

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You teen-agers are all alike– You think the world owes you a living! Now go out and get me some shots of Spider-Man, and don’t come back till you do!

The covers so far have mostly been single images. Here, the cover is itself a comic. It’s not a common artistic choice, perhaps because it forces the images to be smaller. But it effectively shows off the range of Sandman’s powers.

Lee and Ditko share the credits for this issue with a simple “By”, rather than breaking up who did the story and who did the art.

In 4 issues, this series has introduced:

  • Chameleon
  • Vulture
  • Tinkerer
  • Dr. Octopus
  • Sandman

That’s 5 enduring villains, and at least 3 iconic ones.

Continue reading “Amazing Spider-Man #4”

Amazing Spider-Man #1

Spider-Man
Featuring: Spider-Man
Release: December 10, 1962
Cover: March 1963
12 cents
Script: Stan Lee
Art: Steve Ditko
14 pages

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I say that Spider-Man must be outlawed! There is no place for such a dangerous creature in our fair city!

Spider-Man is back! He appeared briefly, set to be a recurring star in Amazing Fantasy, a comic which was cancelled immediately after he appeared. Sometime between making that decision and now, we learn the publisher received lots of letters and postcards, so now Spider-Man gets his own comic. Probably good they brought him back, as he’ll go on to become Marvel’s most enduringly popular character.

We are still on December 10, 1962. A day with four major Marvel superhero milestones. The first was the crossover between the Fantastic Four and the Hulk. The second was the debut of Iron Man. The third of these is Spider-Man getting his own series.

  • Milestone #1 of December 10, 1962:
    Fantastic Four meet the Hulk!
  • Milestone #2:
    Iron Man
  • Miletone #3:
    Amazing Spider-Man #1

The tale begins with a 2-panel recap of his origin from Amazing Fantasy #15. But, strangely, they leave out what most today would consider the most pivotal part, Peter’s culpability in Ben’s murder by letting the burglar run past him. True, it’s only two panels, but they seem to go out of their way to not mention it. He instead uses phrases like, “All because I was too late to save him!” and “…while I was busy showing off…”; so they keep Peter’s feelings of guilt but leave off the reason he feels so guilty. It seems like a rather intentional and conscious decision. But I don’t know why they made it.

Continue reading “Amazing Spider-Man #1”