Monday, August 15, 2016

The Amazing Spider-Man 8 (II): What is Flash Thompson's Problem With Peter Parker



What is Flash Thompson's Problem With Peter Parker?

In the first few pages of Spider-Man #8, Peter Parker calls Flash Thompson "loud mouth" "dumb clown", "clumsy meat-head", "ugly", and insinuates that he can’t read or write. Flash Thompson calls Peter Parker "puny", "weakling", "scarecrow", "teacher’s pet", and "worm". Parker arguably starts the altercation by priggishly telling Thompson off for calling the experimental computer a "gizmo" when it is actually "one of the scientific marvels of the age."

It is always tempting to see if the names of fictitious characters have any significance, but in these old Marvel Comics it isn’t often profitable. Peter is a rock, of course, but Parker is simply a man who looks after a park. Jameson is the son of James, and his son is John, which gives us a trio of apostles, but that doesn’t take us very far. Peter’s two girl-friends, Betty and Liz, are both presumably Elizabeths, which doesn’t take us much further. Brant is probably derived from Brand which probably means Sword; and Allan might mean little rock. Ben is a Jewish name, but May isn’t.

However, it is hard to believe that, when Stan Lee named Peter Parker’s high school adversary Flash he didn’t have Harry Flashman, the most notorious cad in scholastic fiction, at the back of his mind. Flashman was a pupil at Rugby school, which gave its name to Rugby football, from which American rules football (as opposed to soccer) is indirectly descended. Flash Thompson is a footballer although this never really comes into the story. 

Flash is often said to be a bully; but he never does anything really nasty. There is no stealing lunch money, hiding under-wear or physical cruelty. Flashman arranges to have Tom Brown flogged and tries to roast him alive; Flash merely plays practical jokes on Peter and takes the mickey out of his sprained arm. God knows, verbal bullying can be just as crippling as physical bullying, but the name-calling between Thompson and Parker is a two-way street.

Flash Thompson believes in an obsolescent code of masculine honour. According to this code, and according to his own lights, he generally does the right thing. He believes that, because of his strength and athletic prowess, he should be at the top of the pecking order — literally and figuratively the biggest man on campus. This may also be why he is such a big fan of Spider-Man; he positively wants to defer to any obviously stronger and more heroic male.

The boys treat Flash as leader; the girls regard him as a "he-man" and "dream-boat". He can date whichever one of them he chooses. But he respects the rules of dating as they stood at the time. He is surprised when Liz agrees to go on a sympathy date with Peter (which Peter breaks) but there is no question of him coercing either of them. Liz hasn’t agreed to go steady with him, so she is free to see whomever she chooses.

When I hear the term "school bully" I think of a big guy — or, more likely, a gang of big guys — waiting for a smaller guy in some secluded spot and "duffing them up", either in order to steal money, or, more likely, for simple sadism. Flash Thompson isn't a bully in that sense. I am pretty sure that if some Gripper Stebson had stolen Peter Parker’s lunch money, Flash would have intervened on Peter’s side (as indeed he does on the one occasion when Peter is in trouble with the Principal.) What Flash wants is to fight a duel of honour with Peter.

Flash is bound by a schoolboy version of the gunfighter’s code. He wants to fight Peter to establish that he is top dog. He is quite certain that he would win, and he would certainly respect the result, but first Peter has to agree to the fight. Honour prevents Flash Thompson from hitting a smaller man, hitting a man with glasses, or hitting first. That is what all the taunting is about: if Thompson could make Parker lose his temper, then he would be within his rights to hit back. (And this is why Peter taunts Flash so boldly: he knows that the code of honour means that Flash can’t hit him.) The other males in the pack are supposed to either voluntarily accept Flash’s dominance, or fight him for it. Peter Parker will do neither. Flash's problem with Peter is that he is outside the Code. He will neither kowtow to Flash nor challenge him. He’s basically laughing at the whole thing.

The staff of Midtown High side with Flash Thompson over the Code. When Flash attempts to take the computer print-out which may have Spider-Man’s secret identity on it, Peter, for the first time physically pushes Flash away. Which, according to the Code, gives Flash the right to punch Peter if he wants to; at which point Peter has to either continue the fight or accept Flash’s dominance. Mr Warren, the science teacher, steps in. He correctly identifies what is going on as a feud between two young men (as opposed to a case of big boy picking on a little one) and suggests they "settle it once and for all" in the gym. It seems utterly bizarre to us that a teacher would sanction a fight between two students. When I was at school, "fighting" was one of a small number of offences that could still result in corporal punishment. But the past, as someone once said, is a foreign country. They do thing very differently there.

Back in — oh 1999 was it? — Dave "Cerebus" Sim challenged Jeff "Bone" Smith to fight him in a boxing ring because he believed that Smith had told a lie about him. Smith declined. I never really understood what such a fight would have achieved. It always seemed to me eminently possible for someone to be weak but honest or strong but a liar. Is the idea that once you have established that you are the stronger man, you are free to tell lies if you want to? Or did Dave literally believe that it would take divine intervention to establish who had given the more accurate account of their house party to the Comics Journal?

But however strange the code of honour may look to us, Flash Thompson tries to obey his own precepts. Flash lost the fight. Peter proved he was a real man after all. So the next time they meet (in issue #9) Flash swallows his pride and tries to be pleasant to him -- and overture Peter entirely rebuffs. In issue #10, he tries again, actually turning up at the hospital to visit Aunt May. He blusters that Liz forced him to go, but Peter sees through this immediately.

Maybe a big man trying to persuade a small man to have a fight is still a form of bullying: like the expert swordsman wandering around taverns hoping that someone will besmirch his honour so he can kill them. Maybe a modern teacher might recognize what Peter is doing to Flash as a form of reverse bullying — the little guy perpetually sniping at the big guy, intending to cry "foul!" when the big guy eventually hits him. But then, one would hope that a modern teacher would also be aware of Peter Parker’s difficult situation — he's had a close family member murdered, for goodness sake! – and cut him some slack. But this honour and dominance scenario accounts for the relationships between Peter Parker and Flash Thompson far better than simply painting Flash as a bully and a sadist.

Later revisionist continuity revealed that Flash Thompson had an alcoholic father who thrashed him, and that his first name was Eugene.

He is now a member of the Guardians of the Galaxy.


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.



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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. 

Sunday, August 14, 2016

Amazing Spider-Man 8 (I)

The Terrible Threat of the Living Brain.

Villain
The Living Brain


Named Characters
Flash Thompson, Liz Allan, Mr Warren, Mr Petty,

Observations:
The referee in the boxing match is presumably the aforementioned Coach Smith.

Mr Petty refers to the machine as an "electronic brain"; the term "computer" isn’t quite current.


This is the first issue in which neither Aunt May nor J. Jonah Jameson appear as characters.


Parker’s specialization: The representative from ICM is surprised how much Peter Parker knows about electronic brains.


Spins a web, any size: Spider-Man spins a huge spider-web that blocks a whole doorway.


This issue sticks out like a moderately sore thumb in the first run of Spider-Man stories; almost as if it were a pilot for a reboot that never happened, or a change of direction that never went anywhere. It's set entirely at Peter Parker's school; neither Aunt May nor Jonah Jameson appear. It's shorter than usual, leaving room for a 6 page filler which I suppose we’ll have to talk about in a moment. Lee says on the letter page that it was a "change of pace" and promises to be "back on track" next time.

I wonder if cancellation had been looming again, and Lee was preparing to re-launch Spider-Man in an anthology title? Or did he have the Torch strip lying around and think that it made economic sense to use it? Or was there a scheme for a Spider-Man-at-school spin-off title? I cannot believe that these stories were written with a “tribute to teenagers” special in mind. On the basis of this comic, teenagers mainly call one another names and have fights. Some tribute.

Think of Buffy the Vampire Slayer: objectively the greatest genre TV show which doesn’t have naked people and dragons in it of all time. Buffy spends her first four seasons slaying vampires mainly within the confines of her high school. The weekly battle with a supernatural monster generally ironically reflected whatever personal issue she was dealing with in the same episode, so if she was struggling to see the point of a history exam she might find herself dealing with a monster who was endlessly doomed to repeat the mistakes of the past. This kind of thing almost never happens to Spider-Man: in fact, it is surprisingly rare for the threat which he is is facing to impact directly on Peter Parker at all. Certainly, this issue consists of two separate plots, rolling along in parallel, bumping into each other at key moments and leading to a farcical conclusion.


So: in the first plot, Dr Petty from the "International Computing Machine Corporation" demonstrates his "electronic brain" to Peter Parker’s science class. It’s a beautifully Ditkoesque creation, very much the sort of thing which would have appeared in Amazing Adult Fantasy — like a toy robot, but not quite like one. It runs around on ball bearings and has claws exactly like the ones on the end of Doctor Octopus’s arms. Two goons (and can’t Ditko draw a lovely bad guy, the fellow on the left looks more like one of the Mole-man’s troll creatures than an actual human) decide to steal the machine and use it to "figure out horse race winners, elections, anything". While they are trying to steal it they accidentally "bump into the control panel" causing it (and I hope you are keeping up with all the scientific jargon) to "short circuit". The machine runs amok, and there is a big fight, up and down the corridors of the school. The Brain, while not evil, is able to learn Spider-Man’s moves and avoid him. In the end, Spider-Man — or rather, Peter Parker — outwits the machine, removing the control panel and flipping the cut off switch.

In the second plot, Flash Thompson and Peter Parker are trading insults, as usual. When they very nearly come to blows, Mr Warren suggests they have an actual fight in the gym. Everybody else thinks that poor, weak Peter will be creamed by Flash Thompson, but Peter’s main worry is how to avoid killing Flash with his spider-strength. First, Peter pulls one of his punches but still knocks Flash through the wires; then, trying to give him just a little tap, he knocks him clean out. The kids, all routing for Flash, think that Peter cheated; but Flash knows better. Peter Parker is just pleased that he finally got the chance to "wallop" Flash (an oddly juvenile word when applied to two young men having a refereed fight in a boxing ring.)



Some of the world’s silliest jokes involve telling the listener something in the first line, leading them in a completely different direction, and then delivering a punchline which takes them back to where they started. (*). This story is structured exactly like one of those jokes.

Mr Petty wants to demonstrate the Brain’s problem solving ability, so the kids challenge it to work out Spider-Man’s real identity. This is set up as the big crisis of the story: Peter is really worried about what will about if the Brain works out that he's Spider-Man. Flash tries to take the print-out from Peter, which is the flash-point for their fight. But the boxing match, and the fight with the robot distracts the reader’s (and all the characters') attention away from the question. At the very end of the story, the two goons run into the locker room and trip over Flash (who is recovering from being punched by Peter) making it appear that Flash overpowered them both. This enables Peter to deliver the punch line — quite obviously, Flash Thompson is Spider-Man. ("If they keep it up, Flash’ll end up believing it himself" grins Peter Parker.)

Many reader’s think of this as a below par issue, but I’m rather a fan: I like the sense of fun and the relative lack of angst; Peter Parker in his natural environment, and the sense that despite the monster and the fight, this is pretty much just "a day in the life" for a superhero.

At the end of last issue, Peter had his arm chastely round Betty’s shoulder, flirting among the filing cabinets. This issue ends with him walking home thinking "All in all, it’s been a mighty pleasant day". Other issues have ended with him crying; this one shows him whistling. A pleasant day involves fighting a dangerous non-human foe and punching another boy, quite hard.

There have been two instances of the Gemini-face in this issue — when Parker decides not to replace his glasses, and when he is about to fight Flash and can’t work out how to avoid killing or injuring him. But this is, I think, the first time we have seen our hero’s whole body split in two, Spider-Man down the left side and Parker down the right. And the message is: Peter is fully at ease with being Spider-Man.


(*) So, a guy is driving down the fast lane of the motorway in his sports-car, when a three legged chicken cruises past him. Not quite able to believe this, the guy sticks his foot down on the accelerator, and chase the bird, which zooms along for a few miles, before exiting the motorway, running along several main roads, then turning off onto a B road, and eventually onto a winding single track country lane before coming to a halt in a the yard of a tiny little farm. “Ooo arr” says the farmer. “How can I be helping you, like?” (Did I mention he was Scottish?) “Well” says the man “I couldn't help noticing that your chicken has three legs.” “Ooo arr, we breeds em like that, me handsome” says the farmer. “You see, come Sunday lunch time, I likes a nice leg of chicken; and the missus, she's partial to a nice leg of chicken, and my strapping your song, he won't go without a leg of chicken either.” “And what does it taste like” says the man. “Dunno” says the farmer “Never caught one yet.”

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. 



Thursday, August 11, 2016

Politics



So I went to my first ever political meeting on Tuesday, to decide who Bristol West Labour Party would nominate to be leader of the party. Local constituency nominations have no affect whatsoever on the actual result, but they are a way of boosting one or other candidate's campaign. 

(On Monday night, I heard The Man Himself speaking to a big rally outside "city hall".) 

I don't know what I expected a political meeting to be like: would there be a warm-up act; or would we start with a word of prayer or at the very least a few verses of the Internationales? Remember how Screwtape's patient unconsciously imagines Christians wearing sandals and togas and can't quite get past the fact that the people in his local church dress in normal 20th century clothes? I think I was probably hoping for flat caps and checked shirts and braces and maybe a couple of banners and a brass band. 

I have to say it was a very well organized meeting and an excellent advertisement for local politics. It started ten minutes late to allow everyone to get through the door and have their membership checked; but other than that it was well-chaired, smoothly organized and above all, short. A union man gave a five minute talk in favour of Jeremy Corbyn, an MP gave a five minute talk in favour of the other fella; there was 30 minutes of discussion from the floor (with no-one allowed to speak for more than 2 minutes). The whole thing was dried and dusted in an hour and a half. Everyone was polite and pleasant and there were some very good and fair points made on both sides. People applauded points they agreed with but there wasn't the slightest hint of booing, bullying or name-calling. One chap said "Good speech, by the way" to the previous speaker before putting the contrary point of view. I was, in short, very disappointed indeed. 

I felt that the real split on the floor was between the Hearts and the Heads. The fans of Jeremy Corbyn talked about how they had felt alienated from the Labour Party or from politics in general but had been brought back to the fold because Corbyn seems like a normal human being who says what he means and means what he says. The fans of the other guy claimed that he had more of a clue about leadership and management and had actually thought his proposals through. The union guy talked about values; the MP ran through specific proposals. 

Well. Political engagement, like any other kind of engagement, has to start with, but can't end with, emotion. No-one gets fired up and excited by fiscal prudence and income tax bands: they get fired up by a wish for a better society and the faith that their candidate believes in it too. But then someone has to work out what practical steps they are going to take to move us in that direction. What a pity that we're being faced with an either / or choice; what a pity that Head and Heart are gong to spent the next month beating each other up -- a fight that we already know that Head cannot possibly win --- when Head could have said "Heart, old chap; I want what you want and you want what I want but I think I could suggest four or five practical ways for you to improve your spreadsheet." 

Twelve months ago, Hattersley and Campbell and Blair were lined up to say that Labour must not elect a left-wing leader under any circumstances. (I don't really think that the idea of unionized workplaces and free education and house building programes count as left-wing, particularly, but let's go with the jargon.) Blair went so far as to say that he wouldn't want a left-wing Labour Party to win an election, even if that were possible: ironic, since the argument most frequently thrown at Corbyn is that he cares more about ideological purity than electoral success. Last year's election was between the guy who wanted to nationalize the railways, and the guy who wanted to appeal to the kind of aspirational voter who wished they could afford to buy their groceries at Waitrose.  This year's election is about whether your guy's scheme to re-nationalize the railways is better costed than our guy's scheme to re-nationalize the railways. 

Whatever happens next, Jeremy Corbyn has already won the argument.

The meeting voted by 267 to 64 to nominate Jeremy Corbyn but in a real sense the winner was etc etc etc



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Wednesday, August 10, 2016

Appendix: Peter Parker's Financial Position



$1 in 1963 would be worth about $7.78 (£5.93) in today's money.

*sum specificed in text
? ball park figure


Amazing Fantasy #15: 

Income: *$100

Aunt May and Uncle Ben are both old; there is no indication as to what Uncle Ben's job was, if he is retired, or whether he has a pension.

We are never shown May claiming welfare. (In a British comic of the same period, we might have seen her going to the Post Office to collect her pension.)

Peter Parker makes several appearances as Spider-Man over some days or weeks, but we are not told what he paid for them.

Spider-Man earns $100 dollars for wrestling Crusher Hogan.

Left in kitty: *$100


Amazing Spider-Man #1 

Income - 0
Borrowed (by Aunt May)   ?$300 (two month's rent)

Peter and Aunt May are sufficiently short of money that they are in danger of losing their rented home, and May has to pawn her jewelry to pay rent.

I think Stan Lee intends us to infer that the cheque that Spider-Man cannot cash is for all his TV appearances.

A modest house costs between £800 and £1000 to rent in my city right now, so I am going to assume that May's rent in 1963 was about $150.

Left in kitty  ? $200 in debt


Amazing Spider-Man # 2

Income: ?$2,000
Expenses: All spent on rent

Jameson pays Peter Parker a sufficient amount of money that he can pay 12 months rents (plus, presumably, pay the backlog and get Aunt May's jewelry back) and have enough left for a kitchen make over.

There are clearly 8 pictures, so if we called this $2000 it would work out at $250 per picture.

Peter blows the whole cheque in one go, without putting anything by for living expenses.

It's hard to determine if Jameson is paying fairly or not. In real life, photographers are usually paid by the assignment, not the shot: the British NUJ suggests that photojournalists don't work for less than £250 per day (maybe $50 in Parker's time.) Paparazzi make much more than that. but generally by building up portfolios and libraries of shots that can be licensed over and over. Particularly exclusive shots can go for fortunes -- paps told Princess Di that if she would look up and smile, they'd be able to send their children to private school. The scumbag who photographed John Lennon's body was reportedly paid $5,00 for his trouble. 

Left in kitty: Nil


Amazing Spider-Man #3

Income - Nil

Parker doesn't make any sales, but "couldn't care less." This suggests that Aunt May does have some income, however meager, because there is nothing in the kitty.

Left in kitty: Nil


Amazing Spider-Man #4

Income ?$500

Expenditure: Web Ingredients. .

Parker asks Jameson for an advance (!) which he needs to buy science equipment to finance improvements to his webbing: him and his Aunt must be surviving quite happily now that the rent is paid.

The pictures are valuable (although they are actually faked) and Peter is pleased with the money; but I don't think it can be as huge a sum as he got in #3. 

Left in kitty: Nil


Amazing Spider-Man #5

Income ?$500

Parker sells Jameson photos of the fire at Doom's hide out, but Jameson doesn't think they are worth very much. 

Kitty: ?$500


Amazing Spider-Man #6

Income - Expenses only

Parker  makes nothing out of his trip to Florida to photograph the Lizard. (NOTE: Jameson destroys the prints: Parker must still have the negatives. Why didn't he try to sell them elsewhere?)

Kitty: ?$500


Amazing Spider-Man #7 

Income *$12.50
Expenses: ?$12.50 (Treatment for sprained arm.)

Jameson pays Peter $12.50 for one "fine" picture of the Vulture: about a twentieth of what he paid him in issue #3, about $100 / £70

Aunt May insists that Peter goes and gets his sprained arm looked at by a doctor. Amusingly, BUPA would charge about £70 for a 15 minute GP appointment in today's money, which is almost exactly equivalent to the $12.50 Peter got for the photo.

Left in kitty ?$500


Amazing Spider-Man #8

No pictures sold at all.


Amazing Spider-Man # 9

Income - *$1,000

Expenses - ?$500 (misc medical bills)
*$1,000 (cost of operation) 

Aunt May is sick. They are paying for her care out of their savings, which have nearly run out. (These savings can only be the $512.50 that Peter has made from photos: they don't have any other money to fall back on.)

Aunt May needs an operation costing $1000. Parker sells (fake) pictures to Jameson for $1000, although Jameson says that they were really worth as much as $20,000!

It isn't clear what May's condition actually is: I would have thought you would have been talking more like $10 - 15K for heart surgery.

Left in kitty - Nil






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.