The Amazing Spider-Man (1963) #3

Besides the first appearance of Doctor Octopus–and the Spider-Signal–there are a couple other things I noticed. First, Spider-Man’s catching bad guys at the beginning of the issue. That brief scene is the first suggestion he’s actually been out crime fighting. Second, the banter starts this issue, between him and Doctor Octopus (or am I supposed to use the trademarked Doc Ock?).

While the issue does feature some decent angst–Peter Parker ready to quit being Spider-Man because he got beat up only to be inspired by Johnny Storm–Lee’s action plotting is a little silly. The first fight with Doctor Octopus is in an office. The second features Spider-Man on the run from a bunch of automatons until he can find the lab where he concocts a device to defeat the villain (Spider-Man, the thinking superhero).

It’s good, but there’s definitely something missing.

The Amazing Spider-Man (1963) #2

Again, Lee goes an interesting route here. There’s no real introduction to the supporting cast yet–Aunt May’s in the issue, but the police chief has more effect (I don’t think Aunt May has any lines)–and Spider-Man’s still all about the benjamins. I’m not sure what rent was back in the 1960s, but he must have done pretty well with his pictures of the Vulture to pay a whole year of it.

Spider-Man’s still financially concerned–there’s one point where Peter Parker modifies his costume for the life of a costumed adventurer, but he’s really just making it better suited for using Spider-Man as a photographer. At one point during the Vulture story, I wasn’t sure Spider-Man cared if the Vulture was caught, so long as there was a picture.

The Tinkerer story is just sci-fi. Spider-Man doesn’t need to be in it.

The Amazing Spider-Man (1963) #1

Brisk doesn’t even begin to describe how fast this issue moves. Not having read it in years–but having read Ultimate Spider-Man, seen the movie, etc–I forgot Lee didn’t give up on Peter Parker trying to find a way to make a living as Spider-Man for a while (or at least this issue).

It’s a neat gradual thing, the narrative just progresses. It’s so uncomplicated, so straightforward, I’m kind of shocked it’s a Marvel comic. I guess memories of McFarlane soured me to Spider-Man overall, but this issue’s a sign I shouldn’t be so hesitant. Lee’s got a nice way of embracing his readers–no one gets excluded, though the stories aren’t geared toward younger readers.

Ditko does maybe nine, maybe twelve panels a page many of these pages. Lee’s script moves things well along. It’s a nice read. Not sure it’s great, but it’s nice.

The Amazing Spider-Man (1963) #274

The Beyonder and Mephisto place a bet on Spider-Man’s ability to sacrifice his personal wellbeing for others. How stupid a storyline is that one? It’s Spider-Man. The character’s entire premise is based on his personal misery.

It’s a mess of an issue, as the Secret Wars II crossovers are clearly straining the entire Marvel line at this point–the issue features more Beyonder than Spider-Man and more Mephisto than Beyonder. It’s inexplicable why this issue is even worth publishing, since it’s a done-in-one amidst a huge crossover (the status quo is returned at the end, with the possible exception of Peter Parker worrying about Christmas).

The art’s awful too–with four pencillers and three inkers. I like DeFalco’s work in general (or have on the previous two issues of Amazing), but there’s almost nothing going here–except the repeated assertion Peter doesn’t love Mary Jane.

The Amazing Spider-Man (1963) #273

I probably grew up on Tom DeFalco’s Spider-Man and never even knew it. All I think of when I hear the name now is Spider-Girl and that’s about it. I guess I did read another DeFalco Secret Wars II crossover Spider-Man issue and the result was me thinking I should read more.

This issue just cements it.

The issue mostly follows Puma–I’d totally forgotten about Puma, Marvel’s attempt at some Native American sensitivity (strange how comic book companies used to worry about these things and now, with the lovely internet, can’t do a thing without getting attacked by fans)–on a loony quest to kill the Beyonder.

DeFalco’s got so much going in this issue, it’s impossible not to call it a soap opera. How anyone kept up–how I kept up as a kid–is beyond me, yet I’m familiar with lots.

It’s quite good.

The Amazing Spider-Man (1963) #268

This issue reveals Ronnie is not, as it turns out, in bed with the Kingpin. He just contracts him on special assignments. If Marvel had any real nads, they could do Kingpin owning Blackwater. But whatever.

Ron Frenz draws a good Spider-Man comic. Not sure what I think of him overall, but this issue had a lot of good, iconic Spider-Man action without feeling like Frenz was going for homage. It just felt right. And his facial expressions are fantastic.

While DeFalco does everything he can to make Spider-Man a non-character in his own title (it feel like the Kingpin gets more page time), it’s all very competently executed. DeFalco’s writing about the event, with Spider-Man being a participant, not protagonist, but whatever, it’s a fine comic book.

It never occurred to me eighties Spider-Man might be worth a look; this one suggests it.