In addition to Dr Rinehart, Spider-Man encounters hallucinations of Doctor Octopus, the Vulture and the Sandman, suggesting that the maximum number of villains you can shake a web at is three.
The last time we saw Peter selling any pictures was two months ago (issue #22), so either Marvel Time is running quite a bit slower than Real Time, or he has been having undocumented “off stage” adventures between issues.
p2 "I'm gonna find some hot news scoop to photograph just like a friendly neighborhood Spider-Man should"
Peter Parker's motivation for being a superhero is still at least partly mercenary. He's spent several weeks or months allowing burglars to kill uncles without let or hindrance, because he’s been revising for his exams. (He’s going to graduate in two issues time.) What gets him off his webbed backside and onto the streets isn’t a sense of responsibility, but the need to pay for Aunt Mays extravagant tastes in millinery.
p7: "It is only a matter of time before his id and his ego get so confused that he forgets who he really is ...and then he will suffer a severe nervous breakdown!"
As ever "psychiatrist" is taken to be synonymous with "psychoanalyst". A nervous breakdown is a temporary bout of very severe depression, and probably not the kind of thing a Freudian would treat. "Going mad" is something quite different, implying some kind of violent insanity that would require hospitalization.
This is not the first time that Spider-Man has visited a psychiatrist. He sought medical help in issue #13 when he believed he was becoming schizophrenic.
- The un-named shrink in that story felt that “if I can make a patient out of him, I’ll make medical history”; the fake one in this story says “a case like yours will make medical history”.
- The real psychiatrist set out to “probe into his subconscious”, hoping to establish that he’s “a mysterious super-hero who's also a mental case”; this one is excited because “never before has a trained analyst probed into the sub-conscious of super-powered celebrity like you!”
- Spider-Man had second thoughts about being treated by the real psychiatrist because he realized that if he spoke freely he would give his identity away; he is on the point of revealing his identity to the fake psychiatrist when the ruse is revealed.
I still think the story holds up very well. Page 12 is one of Ditko’s very finest: the fatigued Spider-Man, leaning against a wall, with his head in his hands; Parker looking at himself in the mirror; the splendid horror-comic panel as he realizes that he really is losing his mind. The denouement is also one of the best. Spider-Man is on Dr Rinehart’s couch. Rinehart assures him that the only way to avoid going completely mad is to make his secret identity public and give up being Spider-Man altogether “I…I guess you’re right.” replies our hero, who was feeling perfectly fine when he got up this morning. The sequence calls to mind both The End of Spider-Man and Spider-Man - Public Menace in the very first issue. We’ve watched all hope being stripped away from our hero, and he is at his lowest ebb. It would be nice to say “and, at this low-point, we discover how truly heroic he is” but in fact, he is entirely prepared to throw in the towel. He may have promised in issue #18 to stop whingeing, but there is no shortage of self-doubt for Mysterio to exploit. It's at precisely that moment — just when he’s about to unmask — that J. Jonah Jameson bursts in (with Flash Thompson tagging along behind) — to reveal that Rinehart is an impostor.
As is usually the case with Ditko-led episodes, the main “madness of Spider-Man” plot is accompanied by two or three major subplots. The first of these involves J. Jonah Jameson launching a new campaign against Spider-Man. Instead of telling everyone what he thinks about our hero, he is going to print a series of vox-pops asking members of the public what they think. I don’t know whether Stan or Steve had been to see The Front Page that month, but this is one of very few occasions when the Daily Bugle actually feels like a newspaper — Jameson shouting for the copy boy; bringing in subs ("so sisters) to rewrite Foswell’s crime report ("We can say Spider-Man was brutal to those misguided crooks”). It’s a wonderfully cynical couple of panels. The press, the public and the publisher get equally trounced. A nice lady says “But I never said I do hate Spider-Man” and the reporter replies “Do you want your name and picture in the paper or don’t you?"? Stan’s wryly comment that “under the right kind of questioning it isn’t long before the Daily Bugle reporters have the answers that Jameson wants…”. And Jameson is at his hypocritical best “All I’m doing is publishing the results of an absolutely impartial, unbiased newspaper survey.” I truly think it was this comic that first taught me to be skeptical about the press.
"Well, then, Andrew. If you basically love this story, but find that it breaks down when you start to think about it, then obviously you are thinking about it too much. Remember the old joke? 'Doctor, doctor, it hurts when I do that.' 'Well, don't to that then.'"
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Amazing Spider-Man was written and drawn by Stan Lee and Steve Ditko and is copyright Marvel Comics. All quotes and illustrations are use for the purpose of criticism under the principle of fair dealing and fair use, and remain the property of the copywriter holder.
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