The Amazing Spider-Man (1963) #255

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It’s a perfectly decent done-in-one.

The issue opens with the Black Fox (I thought he was the Black Cat’s father, but maybe not) and he introduces the issue’s main story, the Red Ghost wanting to rob a bunch of stores so he can afford to build his death ray (or whatever it’s called). There’s some painful dialogue until that conversation, but then it gets amusing–the supervillain in hiding, needing to resort to breaking and entering to fund his devious device.

It’s funny.

The Spider-Man stuff is awkward. Most of the Peter Parker scenes are spent going over all the events of previous crossover titles. Then the black costume takes him out for a day and keeps him unconscious (which he doesn’t know yet, of course).

It’s a breezy read and Ron Frenz does a good job of the action. He gives Spidey some needed physical levity.

The Amazing Spider-Man 255 (August 1984)

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It’s a perfectly decent done-in-one.

The issue opens with the Black Fox (I thought he was the Black Cat’s father, but maybe not) and he introduces the issue’s main story, the Red Ghost wanting to rob a bunch of stores so he can afford to build his death ray (or whatever it’s called). There’s some painful dialogue until that conversation, but then it gets amusing–the supervillain in hiding, needing to resort to breaking and entering to fund his devious device.

It’s funny.

The Spider-Man stuff is awkward. Most of the Peter Parker scenes are spent going over all the events of previous crossover titles. Then the black costume takes him out for a day and keeps him unconscious (which he doesn’t know yet, of course).

It’s a breezy read and Ron Frenz does a good job of the action. He gives Spidey some needed physical levity.

CREDITS

Even A Ghost Can Fear The Night; writer, Tom DeFalco; penciller, Ron Frenz; inker, Joe Rubinstein; colorist, Glynis Wein; letterer, Joe Rosen; editors, Bob DeNatale and Danny Fingeroth; publisher, Marvel Comics.

The Amazing Spider-Man (1963) #254

Asm254

Here’s my issue… yes, Spider-Man has lots of human problems–his aunt’s pissed at him, he’s got girlfriend trouble, he’s got job trouble. He’s apparently the only superhero in New York when there’s a superpowered terrorist blowing up toy stores. The list goes on and on.

But let’s look at these problems.

Aunt May’s pissed he dropped out of college. How contrived. She’s not even a character. It’s unbelievable her beau would even have lunch with her.

His girlfriend trouble–the Black Cat. She’s a moron and a flake and written by everyone in that manner. She even tells Peter she doesn’t like him, only the costume.

The job trouble–he’s taking boring pictures. Considering he got his start faking exciting pictures, Peter’s just being lazy.

He’s not very sympathetic here.

But the Leonardi art is good on all the superhero adventuring. Not so much on the faces though.

The Amazing Spider-Man 254 (July 1984)

28100.jpg
Here’s my issue… yes, Spider-Man has lots of human problems–his aunt’s pissed at him, he’s got girlfriend trouble, he’s got job trouble. He’s apparently the only superhero in New York when there’s a superpowered terrorist blowing up toy stores. The list goes on and on.

But let’s look at these problems.

Aunt May’s pissed he dropped out of college. How contrived. She’s not even a character. It’s unbelievable her beau would even have lunch with her.

His girlfriend trouble–the Black Cat. She’s a moron and a flake and written by everyone in that manner. She even tells Peter she doesn’t like him, only the costume.

The job trouble–he’s taking boring pictures. Considering he got his start faking exciting pictures, Peter’s just being lazy.

He’s not very sympathetic here.

But the Leonardi art is good on all the superhero adventuring. Not so much on the faces though.

CREDITS

With Great Power…; writer, Tom DeFalco; penciller, Rick Leonardi; inker, Joe Rubinstein; colorist, Christie Scheele; letterer, Joe Rosen; editors, Bob DeNatale and Danny Fingeroth; publisher, Marvel Comics.

The Amazing Spider-Man (1963) #253

Asm253

Where to start… I’m tempted to start with Rick Leonardi, who comes up with these great layered panels (or maybe Bill Anderson inked them to make them layered), but simply cannot keep any consistency when drawing people. Maybe he does all right when he’s got football helmets on them–it’s a football corruption story, luckily Peter was assigned to the sports department this issue.

DeFalco manages to overwrite and underwrite at the same time. He’s pushing everything he can into the issue to get an emotional response–the football player throwing games, his disappointed kid brother, Aunt May being mad at Peter for dropping out of college. He even ends the issue with Peter being compared to the football player, they’re both throwing it all away.

But there’s almost no Spider-Man stuff in the issue. Some swinging around, some black costume stuff. There’s no focus on the character though.

The Amazing Spider-Man 253 (June 1984)

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Where to start… I’m tempted to start with Rick Leonardi, who comes up with these great layered panels (or maybe Bill Anderson inked them to make them layered), but simply cannot keep any consistency when drawing people. Maybe he does all right when he’s got football helmets on them–it’s a football corruption story, luckily Peter was assigned to the sports department this issue.

DeFalco manages to overwrite and underwrite at the same time. He’s pushing everything he can into the issue to get an emotional response–the football player throwing games, his disappointed kid brother, Aunt May being mad at Peter for dropping out of college. He even ends the issue with Peter being compared to the football player, they’re both throwing it all away.

But there’s almost no Spider-Man stuff in the issue. Some swinging around, some black costume stuff. There’s no focus on the character though.

CREDITS

By Myself Betrayed!; writer, Tom DeFalco; penciller, Rick Leonardi; inker, Bill Anderson; colorist, Glynis Wein; letterer, Joe Rosen; editors, Bob DeNatale and Danny Fingeroth; publisher, Marvel Comics.

Marvel Team-Up (1972) #141

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Wow, Priest can write. I’ve liked his stuff, been impressed what he could do with Marvel superheroes, but this issue is just fantastic. Maybe because he… he writes thought balloons like they’re internal monologue and not declarative statements, not opportunities for expository shortcuts.

He also should write Batman, because he borrows Batman and Jim Gordon’s relationship for Matt Murdock and Ben Urich.

The issue’s a nice story about Matt trying to help a client–not sure how ethical it is for Daredevil to act as Matt’s private investigator, since he’s not informing the client–and Spider-Man trying to help a technically innocent teenage thug.

The teenager and client are the same person, but Priest explores the difference in Spidey and Daredevil’s approach to how and why to resolve the situation.

Goofy art–Matt’s hair is absolutely hilarious–but not bad Marvel house style.

I’m stunned by the book’s quality.

The Amazing Spider-Man (1963) #252

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Tom DeFalco really likes expository dialogue and thought balloons, not to mention narration. Peter Parker cannot shut up he’s talking to himself so much, then there’s the Black Cat thinking about recent events to catch the reader up. Strangely, the issue opens on this amusing exchange between Jonah and Robbie about the best way to use art on the cover of the Bugle.

The opening and close is pretty strong–DeFalco paces the issue really well and reading it is an investment of time (oh, the eighties… one got to read one’s Marvel comic for longer than five minutes… I’d forgotten).

Spidey and Curt Connors get back from Secret Wars in a nice sequence, then the lengthy Peter exposition stuff, but the conclusion is Spidey taking an arguing teenage couple out to see New York the way he does.

It’s occasionally overwritten, but still a rather good mainstream comic book.

Marvel Team-Up 141 (May 1984)

25860.jpgWow, Priest can write. I’ve liked his stuff, been impressed what he could do with Marvel superheroes, but this issue is just fantastic. Maybe because he… he writes thought balloons like they’re internal monologue and not declarative statements, not opportunities for expository shortcuts.

He also should write Batman, because he borrows Batman and Jim Gordon’s relationship for Matt Murdock and Ben Urich.

The issue’s a nice story about Matt trying to help a client–not sure how ethical it is for Daredevil to act as Matt’s private investigator, since he’s not informing the client–and Spider-Man trying to help a technically innocent teenage thug.

The teenager and client are the same person, but Priest explores the difference in Spidey and Daredevil’s approach to how and why to resolve the situation.

Goofy art–Matt’s hair is absolutely hilarious–but not bad Marvel house style.

I’m stunned by the book’s quality.

CREDITS

Blind Justice!; writers, Tom DeFalco and Christopher Priest; pencillers, Greg LaRocque and Mike Esposito; inker, Esposito; colorist, Glynis Wein; letterer, Diana Albers; editors, Bob DeNatale and Danny Fingeroth; publisher, Marvel Comics.

The Amazing Spider-Man 252 (May 1984)

28098.jpgTom DeFalco really likes expository dialogue and thought balloons, not to mention narration. Peter Parker cannot shut up he’s talking to himself so much, then there’s the Black Cat thinking about recent events to catch the reader up. Strangely, the issue opens on this amusing exchange between Jonah and Robbie about the best way to use art on the cover of the Bugle.

The opening and close is pretty strong–DeFalco paces the issue really well and reading it is an investment of time (oh, the eighties… one got to read one’s Marvel comic for longer than five minutes… I’d forgotten).

Spidey and Curt Connors get back from Secret Wars in a nice sequence, then the lengthy Peter exposition stuff, but the conclusion is Spidey taking an arguing teenage couple out to see New York the way he does.

It’s occasionally overwritten, but still a rather good mainstream comic book.

CREDITS

Homecoming; writers, Roger Stern and Tom DeFalco; penciller, Ron Frenz; inker, Brett Breeding; colorist, Glynis Wein; letterer, Joe Rosen; editor, Danny Fingeroth; publisher, Marvel Comics.