Amazing Spider-Man #4

Nothing Can Stop…the Sandman!

Villain: 

Sandman

Named Characters: 

Aunt May, Jonah Jameson, “Miss Brant”, Flash Thompson, “Liz”, Principal Davies

Observations: 

J. Jonah Jameson wears blue and green striped boxers at a time when briefs were the norm for older men.

Miss Brant’s first words to Peter are “Would you take these trousers to Mr. Jameson, Peter.”

The Principal of Mid-Town High is Mister Davis. Peter Parker’s science teacher doesn’t have a name.

There is no streaming or specialization at Mid-Town High. Prodigies like Peter Parker go to the same science classes as thickies like Flash Thompson.

In the first panel of Amazing Spider-Man #4, Spider-Man hangs upside down, looking at the face of J Jonah Jameson on a hoarding. He is still attacking Spider-Man. “Some guys just never give up!” he exclaims. In the final panel, he asks the audience what they think his motivation is. “Why do I do it?” he asks “Why don’t I give the whole thing up?” 

I seem to remember that Johnny Storm had a few choice words to say about the subject of giving up last issue. Fate really has to work very hard to get through to Peter Parker.

Spider-Man #3 rebooted Spider-Man as a masked crime fighter plagued by self-doubt. But it is Spider-Man #4 which finally nails what Spider-Man is all about. The Doctor Octopus story had Peter Parker in it, certainly, but Peter Parker was simply Spider-Man without his mask. The story was about how Spider-Man loses his self-confidence and how Spider-Man gets it back again.. This is the first time that Amazing Spider-Man has properly been a soap opera -- the first time Peter Parker’s life and Spider-Man’s life are separate strands which get tangled up into a bigger story. It’s the first of these old issues which I found myself re-reading puewlt for enjoyment. It truly is one of my favourite comics of all time. 

All the main characters are now in place. Flash Thompson and Liz who have, up to now, been placeholders for “the jock” and “the jock’s moll” are now two characters in a school-based situation comedy. Between issues, Peter Parker has asked Liz out (I would like to have been, so to speak, a fly on the wall during that conversation!) ; she has accepted out of pity; but Peter has to break the date so he can go Spider-Manning. Up to now, we have had routine exchanges of insults, but this time we have something approaching wit.  

Peter: I can take you out tonight, after all!

Liz: Really? Perhaps we should declare this a national holiday! I’m sorry Mr Parker, but I have made other plans!

Flash: Meaning yours truly, punk! Now run along and find your umbrella!

Similarly Aunt May, who up to now has been been limited to saying “Peter, dear, what’s wrong?” gets some of her own screen time. Peter uses a dressing gown to his spider suit from his Aunt; and she puts him to bed, thinking he has a fever. This is also the episode in which J. Jonah Jameson -- the embodiment of the mob in issue #1, and a mere plot device in issues #2 and #3 -- emerges as a character. Six months ago, Parker almost knocked a wall down, whining “Jameson…It’s all his fault!” Bur now, the “responsibility hero” is covering the rabble-rouser’s chair with web-glue, leaving him with the choice of sitting down all day or walking around the office in his underwear. It’s an incredibly petty thing for Spider-Man to do: one level up from putting a drawing pin on Teacher’s chair, and it's quite brilliant. And in a way, it's an example of Stan Lee's "realistic" approach -- thinking through what the logical results of webbing someone's chair would be.

Jameson gets his own back, kind of, later on, with a line that made me laugh out loud. After the Big Fight, Parker gives Jameson a reel of film, presumably worth thousands of dollars, apologizing that he didn’t have time to have it developed. “That’s all right! Don’t worry about!” replies J.J.J. “I’ll take the cost of development out of your pay.”

For the three plot threads — Spider-Man vs Jameson; Peter Parker vs Flash and Spider-Man vs Sandman to come together, we have to swallow a certain amount of coincidence. Reading these old issues, it sometimes feels like the only villains who don’t rampage through Peter Parker’s perfectly normal high school are the ones who rampage through the offices of the Daily Bugle. And the bit where the Sandman demands that Principal Davis writes him a diploma, and Davis bravely refuses, is frankly a bit feeble. But the idea that Spider-Man’s fights the Sandman in front of the kids who three minutes ago were poking fun at Parker because Aunt May made him carry an umbrella -- and that Jameson turns up to watch --  is such fun it doesn’t matter. 

The plotting is beautifully tight. Ditko keeps setting up inconsequential chains of foreshadowing which pay off later in the story. Peter breaks his date with Liz because he wants to fight Sandman; this leads to him worrying about whether he should give up his duel identity or not; which leads to the teacher rebuking him for not paying attention, which leads him being made to run an errand after school. (The not paying attention incident happened in a generic classroom, but he is clearly asked to carry bottles from the lab to the boiler room. Regardless of what Ditko draws, Stan assumes that Peter is always studying Science.)  While he’s in the boiler room, Parker notices the janitor trying out a new vacuum cleaner. And, of course, six pages down the line, this very vacuum cleaner is used to defeat the Sandman. But at 21 pages, the story has so much space to breath that this kind of thing doesn’t feel remotely contrived. 

The Vulture was a skillful jewel thief; Doctor Octopus a monomaniacal mad scientist. Sandman is simply a thug. The ability to turn to sand and back again isn’t that interesting, but Steve Ditko allows him to do some fun things with it — stretch his body like Mr Fantastic; turn into quicksand; becomes rock hard and then incorporeal like the Vision. Spider-Man’s battle with him follows the now established formula: Sandman gets the better of the first fight (Spidey runs away with a damaged mask) but Spider-Man uses his brain to win the second encounter. 

Jack Kirby had been in street fights when he was a kid, and seen combat in the army: fights in Captain America often seem like hyper-exaggerated depictions of actual combat. The fight between Spider-Man and Sandman resembles no actual fist-fight or knife-fight that has ever been: it’s more like a series of proposals and objections; an exploration of how the opponents can use their powers. This makes it gleeful and funny, especially on a first reading; we are not thinking “who is going to win” or even “that must have hurt” but “what will they think of next?”

• Spider-Man punches Sand-Man; Sandman turns his body rock hard. 
• Spider-Man grabs Sandman while he is still rock-hard and throws him through the door.
• Sandman recovers, turns his fists into battering rams and starts thumping Spider-Man. 
• Spider-Man can easily dodge them with his spidery agility.
• Spider-Man webs Sandman; Sandman turns to sand and pours through the holes in the net.
• Spider-Man runs away, chased by Sandman's giant hand
• Spider-man punches Sandman
  Sandman turns his body incorporeal and then hard, trapping his fist in his chest.
• Spider-Man rams Sandman's head against banister, shattering it into sand.
• Sandman reforms, smothering Spider-Man with sand.
• Spider-Man roles up into ball, and roles downstairs
• Sandman roles into boiler room.
• Spider-Man attacks Sandman with and electric drill.
• Sandman turns into sand.
• Spider-Man sucks the sand into...a high powered vacuum cleaner. 

While the battle carries on, there is a continuous narration and backchat between the characters, as: 

“I’ll just let my grains of sound ooze over there toward you..like having your leg in quicksand, isn't it”

“I’ll bet you'd  be great at a party. Your just a barrel of fun, aren’t you?” 

It was always going to be hard to keep this kind of inventive writing up for very long, and within a few months, “fight scenes” will have degenerated be an endless sequence of A punching B while B makes a wisecrack, and B punching A while A makes a wisecrack. Indeed, by the end, Stan Lee gives up altogether and just runs with sound effects. But this is as good a superhero battle scenes as has ever been done. We don’t feel that the scenes about Peter Parker and Jameson are ballast we have to trudge through to get to the fight; or that the fight has interrupted the romantic comedy about Peter and Liz. The comic is a unified whole.

But in the end, it’s still about fame and infamy; about truth and lies; about the difference between what really happened and what the papers say happened. Parker, unbelievably, not only sells Jameson pictures of him fighting the Sandman (knowing Jameson will claim they were in cahoots) but actually fakes the pictures, convinced he isn't doing anything wrong. 

A classic Ditko "voice of the people" scene.
Amazing Spider-Man #4

The final page is a triple whammy. Panels 1 and 2 quite explicitly recapitulate the first panels of Amazing Fantasy # 15. Liz still isn’t interested in Peter while there are dream-boats like Flash Thompson around, and everyone drives off in Flash’s car leaving Peter by himself. And this time it’s mostly his own fault. 

Panel 3 is Ditko at his most effortlessly brilliant; we’ve moved away from The Crowd looking stunned and incredulous at Spider-Man's TV act: now a group of individuals with individual voices talk about Spider-Man, not knowing that Peter Parker (still holding that damn umbrella!) is listening. Each face is a little character study. The old men, shooting the breeze; the younger women with their grocery bags, including one with terrifyingly trendy glasses; the impassive man reading the paper, and best of all the snooty man indicating that Spider-Man is probably crazy. 

And the final panel is Peter’s soliloquy on the subject of Fame. 

“Am I really some sort of crackpot, wasting my time seeking fame and glory?? Am I more interested in the adventure of being Spider-Man than I am in helping people?” 

A little from column B and a little from column A, I should say. 

“Why do I do it? Why don’t I give the whole thing up?” 

The answer is not "Because Uncle Ben". And it's not even “because the Human Torch taught me a good lesson about perseverance” or “because I can earn, like, $20,000 in one go selling pictures of myself to Mr Jameson”.

This time around, Peter Parker tries to pin the blame on God. 

“I must have been given this great power for a reason! No matter how difficult it is, I must remain as Spider-Man. And I pray that some day the world will understand.”

As motivations go  “because God” isn't that much more help than "because Uncle Ben." Both come down to "just because".

I am Spider-Man because I am Spider-Man because I am Spider-Man. And it is not making me very happy.

Listen Bud

A Close Reading of the First Great Graphic Novel in American Literature

by

Andrew Rilstone

Andrew Rilstone is a writer and critic from Bristol, England. This essay forms part of his critical study of Stan Lee and Steve Ditko's original Spider-Man comic book. 

If you have enjoyed this essay, please consider supporting Andrew on Patreon. 

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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.

 Please do not feed the troll. 

Amazing Spider-Man #3

Spider-Man versus Doctor Octopus, the Strangest Foe of All Time.

Villain 

Doctor Octopus

Guest appearance

Human Torch

Named Characters

Jameson, Aunt May, 

First appearance of 

Doctor Octopus

Spider-Signal

First time Spider-Man catches a gang of robbers.

Observations

Flash Thompson is back to being a red-head, but is not referenced by name.

Parker tells Jameson to have his cheque ready, even though he was paid in cash last month. 

Ditko and Lee have different idea about why the Human Torch is taking time off from the Fantastic Four. On page 21, the art clearly shows him visiting a doctor and being given the all-clear. But on page 13, the text clearly says that he has over-used his flame power and needs to rest it. 

Four months ago, Spider-Man was about to turn evil. 

Two months ago, Spider-Man was looking for ways to make money.

This month, Spider-Man is a professional hero who has "cases" and "assignments" and "opponents". 

This is the second consecutive issue which has ended with Parker looking relatively happy. It won't last.

Today, we would call Amazing Spider-Man #3 a reboot. Characters are created, status quos established and precedents that haven't even been established yet are daringly broken. This is the first fully fledged issue of the comic we now know as Spider-Man. And it's not actually very good.

The episode begins with Spider-Man defeating a gang of bank robbers; beating up all three of them in a single panel and leaving them hanging on the end of a cobweb. This is the first time we have seen him do this kind of thing, but it clearly isn't the first time he has done it. He introduces himself with the spider-signal; which the crooks are all familiar with. He doesn’t take any photos or claim any reward. Catching thieves (just like flies) is simply what he does. 

And then he complains “It’s almost too easy. I’ve run out of enemies who can give me any real opposition. I am too powerful for any foes. I almost wish for an opponent who’d given me a run for my money.” Enemy; opposition; opponent. Spider-Man was introduced to the world as a wrestler; and Stan Lee's language is still the language of a fight promoter, talking up the challenger, making it sound as though the hero can't win.  “The world’s most dreaded super villain;” “his most powerful foe;” “can anything that lives defeat the mighty Doctor Octopus?” “the only foe ever to defeat Spider-Man;” “the power of Doctor Octopus is far greater than yours!” Each month from now on, Spider-Man will have a fight with an opponent; it will look as if he is going to lose; but he will win. When a challenger is particularly "popular", he will be invited back for a rematch.

“I almost wish for an opponent who’d give me a run for my money”. It’s now almost a year since Peter Parker told the old cop that catching criminals was none of his business. It isn't clear if Parker believes in God (although I will never not believe that Uncle Ben was Jewish) but he certainly believes in Fate, or talks as if he does. And if there's one thing we know about Fate, it's that you shouldn't go around tempting it.

It's been established over the last couple of stories that Spider-Man always loses the first bout with his challenger, goes away, uses his brain, and works out a way of winning the second round. This time, the formula is escalated in a frankly rather corny way. When Doctor Octopus throws Spider-Man through a window Whining Peter immediately decides (for the third time) that he’s going to quit being Spider-Man. He doesn't seem to be very badly injured; he just gives up. But it just so happens that the Human Torch is giving a motivational speech at Peter Parker’s school that very day. 

There is no special reason for it to be the Human Torch; Spider-Man and Johnny Storm’s feud is yet to be established. It could just as well have been a policeman or a vicar. Johnny, often depicted as a spoiled brat, comes over here in rather a good light. The original idea for Spider-Man may have been “what if there were a person in the real world with superpowers”; but that idea has now subtly changed into “what if the superheroes lived in a world like ours?" What if a visit from an older lad who could spontaneously combust and throw fireballs around were a not-very-remarkable part of your school day? Which is, it has to be said, a lot more fun.


The Torch’s message is the same one that, oddly enough, a little spider once gave to a demoralized Scottish king: "If at first you don't succeed, try, try, try again." “The important thing is never give up. Remember that. Never give up.” So Spidey goes back and has another fight with Doctor Octopus, but this time, he uses Science to make Doctor Octopus's arms stick together, sprays web over his glasses, and knocks him out.

"Strange that an old fashioned punch to the jaw defeated the most dangerous villain I’ve ever faced" says Spider-Man. It is never clear whether we should regard these remarks as Stan Lee patting himself on the back for being so original, or reprimanding Steve Ditko for being so boring. I am inclined to think the latter.

Doctor Octopus is a visually charismatic figure; a classical mad scientist with four extra arms attached to his torso. They are very strong; and they can be any length Ditko wants them to be; but I never understood quite why they made him quite such a dangerous enemy. There are one or two nice scenes: Doc Ock disguising his arms as water pipes so a guard doesn’t notice him; and the arms reaching through the door of the Atomic Research Centre -- but the two fight scenes are a little nondescript. For a number of panels Ditko stops bothering with backgrounds altogether. 

For once, we have a Spider-Man story which is not about fame: it's about pride. Octopus believes himself to be the most powerful man on earth; even though all he has is physical strength. Parker is defeated because he thinks he is defeated: once he believes he can win, he beats Octopus quite easily. The final frame underlines Peter’s confidence: Flash tells him that he is is a bookworm and the Torch is a real man, but rather than running away crying, Parker effectively responds that it was the “bookworm” side of him — Science — that defeated the bad guy.

Is Peter Parker coming to grips with his dual identity?

SPOILER: No.

Listen Bud

A Close Reading of the First Great Graphic Novel in American Literature

by

Andrew Rilstone

Andrew Rilstone is a writer and critic from Bristol, England. This essay forms part of his critical study of Stan Lee and Steve Ditko's original Spider-Man comic book. 

If you have enjoyed this essay, please consider supporting Andrew on Patreon. 

if you do not want to commit to paying on a monthly basis, please consider leaving a tip via Ko-Fi.

Pledge £1 for each essay. 

Leave a one-off tip

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.

 Please do not feed the troll. 

Folk Buddies festival diaries #1

The Black Swan Folk Weekend in York.

Amazing Spider-Man #2

Duel to Death With the Vulture 

Villain

The Vulture

Named Characters

Aunt May, J Jonah Jameson, "Moose" (Flash Thompson), Jameson's secretary

First Appearance of

Utility Belt, Automatic Camera

Observations

When Peter is at home doing Science he does not bother to wear his glasses.

We get a very brief look at Jameson's secretary/receptionist (who appears to wear scary librarian glasses at this point.) Next month she will become "Miss Brant", and "Betty Brant" thereafter.

And so, on the first page of the second issue of Amazing Spider-Man, the original Spider-Man concept is abandoned, and the character we are familiar with comes into focus. 

Jameson, the chauvinistic tabloid editor from the previous issue, wants photographs of the Vulture, a flying bank robber with wings powered by Science. Peter Parker realizes that he could provide them. Aunt May, very conveniently, finds an automatic camera that once belonged to Uncle Ben. At a stroke, all Spider-Man’s financial worries are wiped away; the previous episodes relegated to the status of prologue; and the question “what should I do with my powers?” resolved. Peter Parker becomes Clark Kent; Jonah Jameson becomes Perry White; very soon the secretary glimpsed on page 8 will become Lois Lane. 

Close up of Vulture, Amazing Spider-Man #2

This is, I think, an interim issue: intended for an anthology comic (it’s only 14 pages long); somewhat connected to Spider-Man #1 (Peter Parker’s main objective is still financial); but focusing more on heroic action and less on character. The "realistic" setting is dropped; for the first time, Spider-Man has an enemy — a flying bank-robber. The aerial duel with the Vulture isn’t as breath-taking as the rescue of the John Jameson in issue #1, but it’s vastly more exciting than the feeble helicopter sequence in the Chameleon story. The sheer visual charisma of the Vulture carries the day. Ditko’s art is sometimes said to be scratchy and cartoony, but the close up of the Vulture on page 5 is on a level with an art-house woodcut.

Peter Parker does not see it as his duty to capture or defeat the Vulture. In their first encounter Spider-Man is following the villain at distance and setting up his camera, thinking “If these pictures come out, the ought to be worth a small fortune”. The Vulture spots him, knocks him out, and leaves him for dead; and when he recovers, he takes the pictures to Jameson. When Parker witnesses the Vulture’s jewel heist, he thinks “If I can get some new pictures of him now, I’ll be able to name my own price for them.” After the fight (in which Spider-Man deactivates the Vultures wings with some Science that he made in his laboratory earlier) he immediately thinks “this is my chance to get some exclusive pix of the capture of the Vulture”; as the police arrest him, he think “these pictures should be prize winners”. Peter is not an altruist; he is not driven by a sense of duty. He becomes embroiled with the Vulture while trying to make an honest buck taking photos.

First Appearance of Betty Brant,
Amazing Spider-Man #2

I will say that again: while trying to make an honest buck. Jameson wants photos; Parker can get photos; Jameson pays Parker what they are worth; and for the first time, everything ends well. 

Some of Stan Lee’s captions get ahead of themselves. Lee has a habit of “back-filling” stories. Once he thinks up a new plot element, he writes as if it was there from the beginning; which gives a new reader the impression that Spider-Man is a much more established character than he really is. “The most colorful superhero of all” cries the title page of Spider-Man #2 “His very name makes the underworld tremble.” So far as we know, in his entire career, Spider-Man has arrested one armed robber (without much publicity) and run out of a fight with one communist spy (also without anyone knowing). The last we saw of him, he was crying and threatening to quit being Spider-Man because he didn’t have any friends and no-one liked him. So what has the underworld got to tremble about? But Stan Lee has decided — I suspect after Ditko had completed the art — that Spider-Man is going to be a crime-fighting guy from now on, and therefore writes as if a crime-fighting guy is what he has always been. 

On page 7, Spider-Man is shown, at home in his bedroom, constructing a utility belt. I think that this is another example of words and pictures being “out of sync”. The pictures shows Spider-Man picking up his camera; looking at the front page of Now Magazine (with the camera still in his hand); making the belt; slipping it under his suit and then constructing a device out of mechanical components. The picture show that the suit can be used to store metal objects about the size and shape of cigarette lighters. They could be web shooters. They could be film canisters. The next sequence shows him selling his first photographs to J. Jonah Jameson.  But Stan Lee’s think-bubble reads “If I’m really going to be a secret adventurer I’ve got to make some changes”. Nothing in the pictures suggest that he is going to be a secret adventurer. What he is going to be is a freelance photographer. 

The episode is still all about fame. The Vulture is supplanting Spider-Man as the celeb who shifts copies of Jameson's papers. Spider-Man was a TV hit because he seemed to be more spider than human; today, the crowds are looking at the Vulture because he is “more bird of prey than human”. Jameson, who was obsessed with Spider-Man, now wants to fill whole issues of his magazine with pictures of the Vulture. The Vulture actively courts publicity, announcing in advance where his crimes are going to be committed. And so Parker makes a faustian pact to keep himself in the public eye. He is going to sell pictures of himself to Jameson, knowing full well what Jameson is will do with them.

Peter Parker is still a performer; Spider-Man is still a role he plays, but from now on, the Daily Bugle will be his stage, and his shows will consist of the dramatic capture of super villains. Jameson thinks Spider-Man is a publicity hound, but obligingly prints pictures of him on the front page of every newspaper he publishes. Parker is miserable because the Bugle tells a false story about him, but provides the very photos that ensure that story is the one that will be told. Parker can make a living only as long as he continue providing Jameson with material for his hate campaigns. Jameson can sell papers only as long as Peter Parker keeps providing photos of Spider-Man to fill them with. Jameson hates Spider-Man because he is famous; but it is Jameson who makes him famous. Spider-Man hates Jameson for making him look bad, but obliging provides the photos that allow Jameson to make him look bad. 

It’s a merry dance; a dance they both seem at some level to enjoy. They don’t seem to notice how many people — including themselves — the game is harming.

Note wads of cash in
Peter and May's hands

Amazing Fantasy # 15 ended with Parker slinking into the darkness, in shame. Spider-Man #1 ends with him cursing his powers and crying. But this story ends with a grinning Peter Parker telling an equally happy Aunt May that their financial troubles are over. There’s a trivial example of art and text being “out of sync” in this scene: we see Jameson looking at the photos; we see Peter leaving Jameson’s office with a huge pile of green dollar bills and we see a happy Peter and a happy Aunt May at home, each holding smaller piles of cash. We can clearly read what has happened: Peter Parker, like a nice little mummy’s boy, has split his first wage packet with his Auntie. But the text says something slightly different: Peter has kept the money, but is planning to spend it all on things Aunt May needs. “I paid the rent for a full year, and tomorrow I’m buying you the newest kitchen appliances you ever drooled over.”

At today's prices, a years rent on a two bedroom house wouldn’t leave you much change from $15,000, before you’ve counted in whatever a new washing machine and dishwasher costs. Parker has taken home practically a year's salary in one day. Jameson clearly doesn’t deserve his reputation as a skinflint.

In the end, the argument about who “created” Spider-Man is pointless. Ditko and Lee figured out for themselves what the comic was about, and those different idea became the first half-dozen issues of Spider-Man. This issue places a few more components into place; but we are some distance from the finished character.

The Uncanny Threat of the Terrible Tinkerer

Villain

Tinkerer

Named character

Dr Cobbwell, Flash Thompson

First Appearance of: 

The Parker/Spider-Man mask motif

Sarcasm. 

Observations:

Spider-Man thinks that the Tinkerer is “one of the greatest menaces I’ve ever faced” —the others, presumably, being the Chameleon and the Vulture.

The Beatles famously intended Sgt Pepper to be the world’s first concept album: a fictitious concert played by a fictitious band. After recording the introduction and the first song, they reportedly said “Oh, soddit. Let’s just do tracks.”

One is tempted to imagine Stan Lee, one issue into his rule-breaking game-changing realistic new super-hero, looking up from his typewriter and saying “Oh, soddit. Let’s just do monster stories.”

In a filler strip entirely without redeeming features, Peter Parker (having just trousered a year's wages for one afternoon’s work) takes a weekend job running errands for an electronics expert and…foils an alien invasion.

The plot has been phoned in from Amazing Adult Fantasy: a shop offers to fix radios for a dime; everyone takes them up on the offer; but the radios are being bugged by extraterrestrials to enable them to spy on the human race. The idea of a radio that listens to you while you listen to it could have been quite spooky, but isn’t.

The story follows the formula that was established in the previous episode: Spider-Man fights the baddies; Spider-Man is defeated by the baddies; Spider-Man uses his brain and beats the baddie on the second attempt. This time he is zapped by a ray-gun and imprisoned in an unbreakable glass container, oddly like the one the Fantastic Four tried to trap him last issue. (Could that be because people who don’t like spiders sometimes trap them in glasses?) I have never thought that “escaping from the water tower by jumping” or “defeating the Vulture by rustling up a special anti-Vulture-wings-zapper” were very interesting ploys, but this one is actually quite clever. There must be air-holes in the container (because he isn’t suffocating) so all Spider-Man has to do to get free is fire a tiny thin strand of webbing through one of the holes and snag the “open unbreakable glass prison” button on the aliens' control panel.

Decades later it was decided that the Tinkerer wasn’t an alien after all, but was pretending to be because of Reasons. This doesn’t retrospectively make the story less awful.

The story does have two points of interest:

On page 8, one of the aliens cries out “Look! It’s impossible! But he’s loose!” and Spider-Man, punching two aliens with one blow, retorts “Who do you think you are — the town crier?” This is, to the best of my reckoning, the first joke Spider-Man ever makes. Up to now, his dialogue has been melodramatic (”there’s no place on earth where you can hide from me”) boastful (”the sky is my element just as much as it is yours”) and arrogant (”ya big ape who do ya think you’re pushing around”) but this is the first actual wisecrack. By issue #7, telling jokes will be specifically mentioned on the cover as one of things Spider-Man is famous for.

First appearance of Peter/Spider-Man

split face.

And on page 4, we get this first occurrence of the Parker/Spider-Man split face motif. Note that on this occasion, the Spider-Man mask is coloured in a lighter shade of red than usual, as if to emphasize that it’s not really there. It has been said that Lee wanted the comic to be primarily about Spider-Man whereas Ditko wanted to give Peter Parker equal space; and the half-mask was a compromise; reminding readers that Spider-Man was present, even in long Peter-centric sequences. Certainly, the half-face mask is going to become part of iconography of the strip, so intuitive that we hardly notice it is there. But this is the first time it's been used, so Lee writes in way too much exposition. Peter Parker is working in Prof. Cowbell’s workshop, but can’t shake the feeling that something is wrong. Suddenly, he thinks “Those electrical impulses. I sensed them in his shop! Now I sense them here! The part of me which is Spider-Man is reacting suspiciously to them! I’ve got to check this out!” This is a rather elaborate way of what would soon be expressed simply as “My spider-sense is tingling like crazy!” But Ditko’s visual motif has suggested to Lee that Peter Parker is not merely a kid who dresses up as Spider-Man for the benefit of the cameras, but at some level a split personality. The idea that there are two sides to Peter Parker — the side of him which is Peter Parker and the side of him which is Spider-Man —is going to be around for several issues to come; and it is by no means clear that Spider-Man is the good half.
Next issue, Lee will claim that the Doctor Octopus story is the first one to end without Parker selling pictures to Jonah Jameson; but in fact (despite a brief look at what might be a camera on panel 5 of page 2) there is no reference to photo-journalism in this episode. Stan Lee is obviously pretending it didn’t happen. I advise everyone to do the same.

Listen Bud

A Close Reading of the First Great Graphic Novel in American Literature

by

Andrew Rilstone

Andrew Rilstone is a writer and critic from Bristol, England. This essay forms part of his critical study of Stan Lee and Steve Ditko's original Spider-Man comic book. 

If you have enjoyed this essay, please consider supporting Andrew on Patreon. 

if you do not want to commit to paying on a monthly basis, please consider leaving a tip via Ko-Fi.

Pledge £1 for each essay. 

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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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