Featuring: Spider-Man Release: April 12, 1966 Cover: July 1966 12 cents Written and edited by Stan Lee Plotted and drawn by Steve Ditko Lettered, unfettered by Artie Simek 20 pages
We come at last to the final Steve Ditko Spider-Man story. We just saw the final Steve Ditko Dr. Strange story. One thing they have in common is awful covers. My best guess is Ditko had resigned before turning in a cover for either. So like the Dr. Strange cover, this cover is cut and paste from Ditko’s artwork within the issue.
Here are the interior panels the cover cribs from:
I’ve been pretty clear that the saga of the Amazing Spider-Man as told by Stan Lee and Steve Ditko is basically my favorite story ever. I won’t belabor why any further than I have in the posts on the last 37 issues.
I’d also been pretty clear that I thought that story ended extremely well with issue 33. And that these last 5 issues represent a step down in quality, and a story that no longer seems to be going anywhere in particular.
I find it unfortunate that that was not Ditko’s final issue of Spider-Man. As the man says, it’s better to burn out than to fade away. I wish he’d gone out at the top of his game.
That excellent climax of the Spider-Man saga came out the same month as the excellent climax of the Dr. Strange saga in Strange Tales #141. Both series then went at the same time into a phase I’ve described as “spinning their wheels”. Where any of the next 4 months of issues could have been removed with minimal consequence. Ditko had one more great Dr. Strange story in him, a final confrontation between Dormammu and Eternity.
Does he have one more great Spider-Man story in him?
It’s worth nothing that the last several issues have not been bad and they have their charms. Despite the small number, this phase can actually be broken into two subphases. Issues 34-35 pit Spider-Man against returning foes, Kraven and Molten Man respectively. Some minimal advancement to the romantic supblots surrounded by action that is well told, but not adding much to Spider-Man’s previous encounters with these villains.
Issues 36-38 take a different tactic. They all introduce new villains, none of whom will become the iconic villains that the rest of the series had introduced. But all are interesting in their own right, and all have stories that center around them. Spider-Man becomes almost a secondary character, as we get to know the Looter and the Robot Master.
And they’re actually good comics, taken on their own terms, and not compared to the expectation of Spider-Man comics we’d developed over the previous 4 years of stories. Just offbeat tales about some offbeat characters who run into Spider-Man, tales that function more as satire than drama.
This falls into that mold. The story, Ditko’s final Spider-Man story, isn’t really about Spider-Man. It’s about this guy named Joe.
Featuring: Spider-Man Release: March 10, 1966 Cover: June 1966 12 cents Edited and written by: Stan Lee Plotted and drawn by: Steve Ditko Lettered and cherished by: Artie Simek 20 pages
Of the greatest run of comics in history. Amazing Spider-Man by Stan Lee and Steve Ditko.
Though it ends with more of a whimper than a bang. Its great climactic finale was 4 issues earlier. We then had a couple forgettable rematches with minor villains, then the introduction of a forgettable villain. This issue also introduces a new villain, but again not the most memorable one.
This issue has some things going for it though. It rises above the last few issues, though not to the heights of the first 33. It’s almost over.
Featuring: Spider-Man Release: December 9, 1965 Cover: March 1966 12 cents Scripted and edited by: Stan Lee Plotted and illustrated by: Steve Ditko Lettered and relished by: Sam Rosen 20 pages
…she’d never accept me as Spider-Man… but, Spider-Man I’ve always been… and shall always be… for as long as I live!
As we discussed, I think last issue works as an ending to the story of Spider-Man. I think issue 39 will give the series a fresh start, acting as a new beginning. These 5 issues in between are something of a treading-water era. I’d like to offer a brief summary of the story of Spider-Man so far before we get into this issue.
Let’s review the story of Spider-Man.
We all remember how it begins. Bitten by a spider. Allows a burglar to escape. Learns a lesson about responsibility.
But then the story jumped forward a bit in time. Without Uncle Ben, Peter and his Aunt are facing financial hardship. Aunt May doesn’t want Peter to worry about it, but Peter feels a responsibility to help with the finances. He considers crime, but settles on going back to show business. But this time he wouldn’t be in it for himself or his ego. He’d be doing it to help his Aunt. His attempts to find money mean he is unable to hang out with the kids at school when they invite him out, which gets him labeled as standoffish. They’ll be less likely to invite him out in the future. But his insistence on keeping a secret identity makes it hard for him to get paid as Spider-Man. And then Jameson’s editorials against him tank his show business career. He tries to get a job as Peter, but nobody wants to hire a kid. When John Jameson’s space shuttle malfunctions, Spider-Man goes into action and saves the day, but still gets labeled a menace by Jonah. The public and even Aunt May are against him. It seems that nothing goes right for Peter.
Spider-Man thinks he can solve his financial problems by joining the Fantastic Four, but they don’t pay a salary. He encounters his first super-villain, the Chameleon, when the Chameleon thinks he can take advantage of Spider-Man’s bad press to frame Spider-Man for his crimes.
When Jameson struggles to get pictures of the Vulture, Spider-Man figures out how he can make money. Aunt May gives Peter Ben’s old miniature camera, and he goes into action as Spider-Man to get pictures of the Vulture. They battle and the Vulture defeats and almost kills Spider-Man on their first encounter, but Spider-Man recovers and defeats him though a combination of his superhero prowess and his scientific ability to invent helpful gizmos. In a bit of irony, Peter sells the pictures to Jameson, and makes enough money to cover Aunt May’s rent.
By the following issue, Spider-Man is now an active superhero, seeking out crimes to stop, presumably because he recognizes this as his “great responsibility”. Dr. Octopus is his toughest foe yet. He almost is ready to give up being Spider-Man, but the Human Torch inspires him to never surrender. And Spider-Man will become known for pushing past his limits and fighting when the odds are against him.
Peter wants to do the right thing, but isn’t always good at it. When he sees criminals about to rob a bank, he stops them too soon, and then can’t prove he didn’t just harass ordinary citizens. When he fights Sandman, his mask rips, so he needs to run away, and can’t return to action until he sews a new mask. Liz had finally agreed to a date with Peter, but Spider-Man gets in the way and Peter needs to cancel. Fortunately, his photo career brings him by the offices of the Bugle and Jameson’s secretary Betty Brant. He stretches the ethics of his already questionable photojournalism career by staging photos of his fight with Sandman after the fact.
With the Lizard, Spider-Man faces the type of ethical conundrum that will occupy his career. Should he turn Curt Connors over to the authorities for his crimes as the Lizard? He instead decides that Connors is a good man, not responsible for his actions as the Lizard, and to keep his secret. In doing so, he will make a friend and valuable ally when he needs scientific expertise.
When the Vulture returns, Spider-Man must fight him with a broken arm. Nothing comes easy for Spider-Man. But the situation creates the opportunity for romance to blossom between Peter and Betty.
It all comes full circle when Aunt May gets sick. Spider-Man must rush to be by her side, ignoring active crimes in progress, just as he once ignored the one burglar. Where do his responsibilities lie? His career as a photojournalist taking pictures of himself was already questionably ethical, but he crosses a new line when he creates fake photos to prove Electro is Spider-Man and make Jameson happy. His Aunt’s health and the money needed for her operations must outweigh all concerns. His activities as Spider-Man also nearly interfere with his blossoming romance with Betty, as he reminds her of someone else who lived too dangerously. But they seem to work it out, at least for now.
Betty was in debt to a loan shark, and she flees town when the Enforcers come to collect. Jameson comes to a rare moment of introspection, realizing the reason he hates Spider-Man may simply be jealousy of Spider-Man’s altruism.
Betty got involved with the mob to help her brother Bennett, who became a mob lawyer to pay off his gambling debts. Peter makes the decision to confide his secret identity to Betty. But then when Bennett dies, Betty blames Spider-Man. While she softens, she still never wants to see Spider-Man again, as it would remind her of her brother’s death. So maybe Peter shouldn’t tell her his secret just yet.
Betty doesn’t get her wish as she gets captured by Dr. Octopus and needs Spider-Man to save her. Dr. Octopus even manages to unmask Spider-Man in front of her and Jameson, but they all find the idea that Peter might be Spider-Man too laughable and dismiss it. The news of Peter’s feat gets out and Liz decides he’s not the coward she thought he was, that the school-kids had never been nice enough to Peter. She’s ready to leave Flash Thompson behind and go out with Peter. But this time it’s his turn to reject her, as he only has eyes for Betty now.
But there is tension between Peter and Betty. She still thinks his photography job is too dangerous, which scares her, given what happened to her brother. And a jealous rivalry between Betty and Liz begins.
One of his greatest triumphs comes when six of his greatest foes team up against him, and he must face them without his powers. It turns out the loss of his powers was psychological, rooted in his guilt and self doubt. By regaining his confidence, he regains his powers and again overcomes the odds.
Spider-Man attends a meeting of a fan club in his honor, which is crashed by Green Goblin. When Spider-Man gets word Aunt May is sick again, he decides he cannot fight Green Goblin and runs away, getting branded a coward. Fortunately Human Torch is on hand to pick up the slack.
Spider-Man comes to a realization. His job as Spider-Man is inherently dangerous. If he gets killed, then who does Aunt May have? He definitely can’t put himself at risk with her in the hospital and in need of attention. Is this the end of Spider-Man? When he sees Betty on a date with Ned Leeds, that convinces him it’s time to give up being Spider-Man for good. Get a proper job, take care of Aunt May, focus on his studies, focus on his relationship with Betty. He throws his costume in the trash. But then a recovering Aunt May gives a timely speech about how the Parkers aren’t quitters, and Peter realizes: “…a man can’t change his destiny… and I was born to be… Spider-Man!!!”
Spider-Man redeems his reputation teaming up with Human Torch against Sandman and the Enforcers.
Spider-Man’s most savage battle comes against the Scorpion, leaving him bruised and bloodied.
A European psychiatrist postulates that Spider-Man is insane, and Peter fears he may be correct. “He wants to be a spider… but of course he is a human being!” Aunt May reminds Peter it’s important to confide in the people you love.
The Crime-Master saga brings home that Spider-Man isn’t especially good at all aspects of his job. He’s got these powers, and he is a science whiz. But he’s not an investigator. He’s not the world’s greatest detective. When confronted with a mystery, he’s better off just letting the police handle it.
Ultimately, Spider-Man’s story is about coming of age. Peter’s big step into adulthood is graduating high school. He and Flash will go off to the same college, but Liz is off to become a working girl. She says he goodbyes to Peter, who never quite seemed to recognize that she’d matured from the girl who once rejected him
Ned asks Betty to marry him. She’s not willing to answer until she settles things with Peter. But Spider-Man still stands between them and always will.
All the threads tie together in the MasterPlannerSaga. Peter and Betty at last part ways, as he starts college, where he meets Gwen Stacy and Harry Osborn. Aunt May is dying from radiation from a blood transfusion she’d received from Peter. But this time, instead of Spider-Man distracting Peter from caring for his aunt, Spider-Man is needed when the serum that can save her is stolen. He battles Dr. Octopus and finds himself trapped under machinery too heavy to lift. But he has to lift the machinery, and in doing so saves his aunt, and proves to himself he can handle whatever life throws at him.
And so the series has gone, the story of a boy growing into a man, trying to do the right thing without always knowing how, trying to juggle too many responsibilities, and always managing to persevere against the odds.
And this issue?
Spider-Man fights Kraven again. Or, as Stan calls him, “… the somewhat magnificent menace of Kraven the Hunter!”
Featuring: Spider-Man Release: September 9, 1965 Cover: December 1965 12 cents Masterful script by: Stan Lee Magificent artwork by: Steve Ditko Mellifluous lettering by: Sam Rosen 20 pages
He’s just like his father… cheerful, enthusiastic, and bright! He’s been like a son to me all these years! And, he was so happy, that I didn’t have the heart to spoil it… by telling him… how very ill I’ve been feeling…!
The cover is a clever idea, using the spider logo to get multiple images onto the page. I feel like it wastes the idea with its choice of images, all fairly similar and bland, shots of the action from this issue that could easily have been conveyed in a single image (see the first page below). A better use of that format would have been to have some variety amongst the 6 panels. A shot of kids from Peter’s college, a shot of Aunt May, a shot of Jameson and Foswell, etc… would have made for a much more interesting cover and better use of the gimmick.
For the previous 5 issues, Stan had given Steve plotting credit, but left that off this time. Perhaps by accident. The credit will be back next issue and for the rest of Ditko’s run.
This story begins a 3-part saga we’ll refer to as “The Master Planner Saga”. (Some people–at least one person–simply call the whole saga by this issue’s title instead.) Up until now, the series has almost been entirely single issue stories. The first proper 2-parter was the Crime-Master saga in #26–27. And we connected #17–19 for thematic parallels and some running motifs about May’s health and Peter’s self-confidence (motifs which will come into play heavily again), but they were really 3 loosely connected standalone issues. This is plainly a 3-part story with each chapter ending with a cliffhanger leaving the major plot threads unresolved
This can be read as the story that brings the saga of Spider-Man to its conclusion, the final chapter. It’s also the best story in the history of Marvel Comics.
Life Lessons Release: January 3, 2001 Cover: March 2001 $2.25 Story: Bill Jemas and Brian Michael Bendis Script: Brian Michael Bendis Pencils: Mark Bagley Inks: Art Thibert 21 pages
They have lowered the price by a quarter. Maybe that will sell the comic better than the awful cover.
This concludes our look at the first 5 issues of Ultimate Spider-Man. This final issue sticks pretty closely to the last 3 pages of the original Spider-Man story. Although it does open with 3 irrelevant pages about Green Goblin.
This really has nothing to do with anything.
We then get 4 pages at the crime scene, including a double-page spread.
With Great Power Release: December 6, 2000 Cover: February 2001 $2.50 Story: Bill Jemas and Brian Michael Bendis Script: Brian Michael Bendis Pencils: Mark Bagley Inks: Art Thibert and Dan Panosian 22 pages
Continuing to read the adaptation of the Spider-Man story from Amazing Fantasy #15 into Ultimate Spider-Man #1-5. This issue covers the events of page 8 and the first two panels of page 9 in the original story.
It dedicates 4 pages to Norman Osborn, finally becoming Green Goblin. His assistant, Justin, appears dead. Harry and Dr. Octavius look quite wounded.
This big scary monster has literally nothing to do with the story yet.
4 pages are dedicated to Spider-Man’s wrestling career, including its end. The analogue in the original was his television career, which didn’t explicitly end in the original story. Perhaps it will be addressed later on. The previous issue had explained the mask/anonymity thing in terms of him being a kid who wouldn’t be allowed to wrestle otherwise. But now that schtick has gotten him into trouble. Somebody has stolen the petty cash and he gets the blame.
Wannabe Release: November 1, 2000 Cover: January, 2001 $2.50 Story: Brian Michael Bendis and Bill Jemas Script: Brian Michael Bendis Pencils: Mark Bagley Inks: Art Thibert 22 pages
So we’re working our way through Ultimate Spider-Man #1-5 and contrasting with the origin of Spider-Man in Amazing Fantasy #15, with particular emphasis on why one story is 12 times longer than the other. This issue covers the ground of pages 5-7 of the original story.
Part of the reason the story is longer is that other things happen. This issue dedicates 4 pages to the story of Norman Osborn on the path to becoming Green Goblin. And along the way is setting up Dr. Octopus. We had previously met Dr. Octavius, but first see his metal arms here.
Growing Pains Release: October 4, 2000 Cover: December 2000 $2.50 Story: Brian Michael Bendis and Bill Jemas Script: Brian Michael Bendis Pencils: Mark Bagley Inks: Art Thibert 22 pages
I’m reading Ultimate Spider-Man #1-5, a modern telling of the story of Spider-Man, originally told in Amazing Fantasy #15; a focus is figuring out why the same story takes 12x as many pages to tell. This issue in particular covers the same ground as about 4 panels on page 4 of the original, where Peter Parker starts to understand his powers.
Part of the answer for the page count lies in layout. This issue favors bigger panels, less per page, more varied layouts. The original adheres pretty rigidly to 3 rows of panels per page, with 2-3 panels per row. The only exceptions it make are for the first page splash page, and a larger panel to open chapter 2.
Powerless Release: September 6, 2000 Cover: November 2000 $2.99 Story: Bill Jemas and Brian Michael Bendis Script: Brian Michael Bendis Pencils: Mark Bagley Inks: Art Thibert 48 pages
I want to pause our main reading to jump forward into the future again, to the year 2000 and a new modern take on Spider-Man’s origin called Ultimate Spider-Man. This takes an 11 page story and spreads it over 135 pages and 5 issues. I’d like to look at exactly where that factor of 12 in the page count comes from. And also consider what changes the writers felt they need to make and why they made them. I agree the original story skimped on some details, but 124 pages worth of details?!?
This first issue is 48 pages long and covers the ground of about 3 pages of the original Spider-Man story. Why so much longer?
Part of the answer lies in focus. The original story was Peter Parker’s story and his story alone. Any characters we met, we met in relation to Peter. Peter was in every scene and most panels. Peter’s story never paused to make way for another character’s plot.
