Featuring: Spider-Man Release: June 9, 1966 Cover: September 1966 12 cents Writer: Stan Lee Penciller: John Romita Inker: Mickey Demeo Letterer: Sam Rosen 20 pages
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.
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.
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
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 twoparts.
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.
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: Daredevil Release: April 5, 1966 Cover: June 1966 12 cents Writer: Smilin’ Stan Lee Artist: Jazzy Johnny Romita Inker: Fearless Frankie Ray Letterer: Swingin’ Sammy Rosen Complaints may be sent to the irascible Irving Forbush! 20 pages
It’s the challenge… the thrill of battle… the danger! That’s what really grabs me! And, I’ve a hunch that Spider-Man feels the same way!
Who’s Irving Forbush?
Recall the situation: The Masked Marauder had manipulated Daredevil and Spider-Man into being suspicious of each other. Now not only does Spider-Man think Daredevil is in league with the Masked Marauder, but he believes Foggy is Daredevil!
And remember, we’re supposed to be seeing what we think of John Romita’s take on Spider-Man. Somebody needs to take over for Steve Ditko!
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.
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: November 11, 1965 Cover: February 1966 12 cents Script and editing: Stan Lee Plot and illustration: Steve Ditko Bordering and lettering: Artie Simek Reading and enjoying that ol’ web-spinner: you! 20 pages
I’ve failed! Just now– when it counted the most– I’ve failed! But, I can’t give up! I must keep trying! I must!! I’ve got to free myself– no matter how impossible it seems! And lifting is the only way! The– only– way–! Uhhhhh I can’t! — So exhausted– after all that fighting– I- I feel so weak–! It’s lying there– just beyond reach– as though mocking me– taunting me– It’s the one thing– the only thing– that can save Aunt May! And I can’t bring it to her–! If she– doesn’t make it– it’ll be my fault! Just the way I’ll always blame myself for what happened to Uncle Ben…! The two people in all the world who have been kindest to me! I can’t fail again! It can’t happen a second time! I won’t let it– I won’t! No matter what the odds– no matter what the cost– I’ll get that serum to Aunt May! And maybe then I’ll no longer be haunted by the memory of– Uncle Ben! Within my body is the strength of many men…! And now, I’ve got to call on all that strength– all the power– that I possess! I must prove equal to the task– I must be worthy of that strength– or else I don’t deserve it! The weight– is unbearable! Every muschle– aches–! My head– it’s spinning– everything’s beginning to whirl around–! The strain! It– it’s unbearable! The crack in the ceiling– it’s growing wider– getting bigger every second! I’ll never make it– I can’t–! No! I dare not give up now! If I close my eyes– I’ll go under! Must stay awake– must clear my head! Keep trying– trying–! I’ll do it, Aunt May! I won’t fail you! No matter what– I won’t fail–! Anyone can fight– when the odds– are easy! It’s when the going’s tough– when there seems to be no chance– that’s when it counts! Everything going black– my head– aching! Hold on– I must hold on–! It’s moving! Can’t stop now! Last chance! Must keep the momentum–more! Just a little more–!
One of my all-time favorite comic covers.
The Final Chapter. Perhaps the most aptly named comic ever. That’s certainly how I’ve come to view this comic.
Most Ditko stories begin with a splash page opening that serves almost as a second cover. This leaves that out in favor of panels to recap the story so far. Aunt May dying because of a transfusion from Peter’s radioactive blood. Dr. Connors unable to help unless Spider-Man can retrieve this canister. Dr. Octopus and his henchmen in the underwater layer. Spider-Man trapped beneath tons of steel in the base, which seems on the verge of flooding.
How strong is Spider-Man? We don’t really know. “Proportional strength of a spider”. He’s not as strong as Thor, Hulk, or Thing, all of whom could probably lift the equipment with ease. But he’s stronger than Captain America, who couldn’t possibly do it. He’s strong enough to lift several tons, but not strong enough to do that easily, and not strong enough to be confident he can do it at all. This is him at his physical limit.
He does lift the machinery off, but it takes 5 pages, a full quarter of the comic spent on Spider-Man lying on the floor, trapped. It’s a famous sequence.
I’ve always felt I was partly responsible for the death of Uncle Ben, because he was killed by a criminal whom I didn’t catch!
Chapter 2 of The Master Planner Saga.
On a personal note, this is the earliest issue of Amazing Spider-Man I actually own.
When we turn to page 2, we’ll learn the identity of the mysterious Master Planner. There were plenty of clues last issue, so maybe you’ve already guessed. Don’t read any further if you haven’t. This is your last chance.
