rich
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Post by rich on Oct 7, 2024 8:01:45 GMT -5
but imagine what he could have produced through the 70s and 80s! In the 70s, Romita still alternated interiors on TASM with Gil Kane, had runs on Captain America, provided layouts (and inked or corrected innumerable artists) for a wealth of other Marvel comics and magazines in the 70s, painted covers for Marvel's TPB / HB books and launched the daily comic strip with Stan Lee. Then, there's his quote (posted a page ago):
Romita: "I wanted to keep my job. I was a 9 to 5 art director. I was also doing other things - covers, and designing toys and things like that."
So, he was one of the busiest artists of that period, as he was not limited to illustrating monthlies. It's the reason of all Marvel artists of the 70s, his work was--arguably--the most omnipresent.
I just used MyComicShop's search function to research this, and I think I'll need your help. Jonny Snr took the Art Director job in 1973, the year Marvel's Silver Age ended, and I can't find any pencilling runs after this- not even 3 in a row! The odd half issue here and there, a couple of layouts on Captain America, occasional inks... but otherwise it was just covers and corrections. If you can point me to any pencilling runs he did after 1973 I'll go on eBay and buy them tonight! I can't even think of any inking runs after this point...
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Post by jtrw2024 on Oct 7, 2024 8:45:13 GMT -5
In the 70s, Romita still alternated interiors on TASM with Gil Kane, had runs on Captain America, provided layouts (and inked or corrected innumerable artists) for a wealth of other Marvel comics and magazines in the 70s, painted covers for Marvel's TPB / HB books and launched the daily comic strip with Stan Lee. Then, there's his quote (posted a page ago):
Romita: "I wanted to keep my job. I was a 9 to 5 art director. I was also doing other things - covers, and designing toys and things like that."
So, he was one of the busiest artists of that period, as he was not limited to illustrating monthlies. It's the reason of all Marvel artists of the 70s, his work was--arguably--the most omnipresent.
I just used MyComicShop's search function to research this, and I think I'll need your help. Jonny Snr took the Art Director job in 1973, the year Marvel's Silver Age ended, and I can't find any pencilling runs after this- not even 3 in a row! The odd half issue here and there, a couple of layouts on Captain America, occasional inks... but otherwise it was just covers and corrections. If you can point me to any pencilling runs he did after 1973 I'll go on eBay and buy them tonight! I can't even think of any inking runs after this point... I think the Spider-man newspaper strip was probably John Romita's most consistent art gig after 1973. He worked on it from its debut 1977 til about 1981
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rich
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Post by rich on Oct 7, 2024 8:55:16 GMT -5
I just used MyComicShop's search function to research this, and I think I'll need your help. Jonny Snr took the Art Director job in 1973, the year Marvel's Silver Age ended, and I can't find any pencilling runs after this- not even 3 in a row! The odd half issue here and there, a couple of layouts on Captain America, occasional inks... but otherwise it was just covers and corrections. If you can point me to any pencilling runs he did after 1973 I'll go on eBay and buy them tonight! I can't even think of any inking runs after this point... I think the Spider-man newspaper strip was probably John Romita's most consistent art gig after 1973. He worked on it from its debut 1977 til about 1981 A shame. Returning to what I said before... imagine all the great comics he could have produced in the 70s and 80s if he hadn't felt unable to keep a monthly schedule along with his sanity. There's not nearly as many artists that can tell a story so well- many can produce a nice pinup or cover, however.
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Post by kirby101 on Oct 7, 2024 8:56:51 GMT -5
During this period, Romita was doing a lot of art corrections and touch ups, this is why he was only able to do lay-outs for many of the issues. He was never a fast artist, but the other work Stan called on him to do took him away from drawing issues. He was the defacto art director by 71-72. (that title was held by Lee, even though the work was done by people like Sol Brodsky, Marie Severin and Romita)
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Post by kirby101 on Oct 7, 2024 9:00:13 GMT -5
I think the Spider-man newspaper strip was probably John Romita's most consistent art gig after 1973. He worked on it from its debut 1977 til about 1981 A shame. Returning to what I said before... imagine all the great comics he could have produced in the 70s and 80s if he hadn't felt unable to keep a monthly schedule along with his sanity. There's not nearly as many artists that can tell a story so well- many can produce a nice pinup or cover, however. Yes we would have had some wonderful art. But Romita was not Kirby or Buscema. One book a month was probably his sustainable workload. Being art director gave him a salaried job and he was able to keep a roof over John Jr and food on the table.
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rich
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Post by rich on Oct 7, 2024 10:25:49 GMT -5
A shame. Returning to what I said before... imagine all the great comics he could have produced in the 70s and 80s if he hadn't felt unable to keep a monthly schedule along with his sanity. There's not nearly as many artists that can tell a story so well- many can produce a nice pinup or cover, however. Yes we would have had some wonderful art. But Romita was not Kirby or Buscema. One book a month was probably his sustainable workload. Being art director gave him a salaried job and he was able to keep a roof over John Jr and food on the table. Even a book a month wasn't sustainable for him- his son tells the stories of how his dad was destroying himself trying to even do that. Similarly, layouts he also didn't do fast! That's part of the origin of JRJR's so called "deadline style"... he knew he couldn't be slow like his dad and cause himself all the same problems! 100% Jonny Snr made the right call for his health, sanity and family. Just a shame for us, because he was brilliant.
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rich
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Post by rich on Oct 7, 2024 10:28:11 GMT -5
Even when he did occasional ink jobs, like the odd bits with his son, were phenomenal. It might be sacrilege to some, but I preferred his Spidey to Ditko's. (My favourite Ditko work was when he got fantastical subjects to work with, and he was in the mood to give it his all. Some of his Spidey work is classic, though, of course!)
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Post by nairb73 on Oct 7, 2024 15:54:29 GMT -5
Even when he did occasional ink jobs, like the odd bits with his son, were phenomenal. It might be sacrilege to some, but I preferred his Spidey to Ditko's. (My favourite Ditko work was when he got fantastical subjects to work with, and he was in the mood to give it his all. Some of his Spidey work is classic, though, of course!) Well, I guess I'm sacrilegious, too, because Romita has long been my favorite Spidey artist. Glad Ditko was there at the beginning, and although he didn't leave under the best circumstances, Peter Parker and the gang were in good hands for years after that.
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Post by tarkintino on Oct 7, 2024 16:30:41 GMT -5
I think the Spider-man newspaper strip was probably John Romita's most consistent art gig after 1973. He worked on it from its debut 1977 til about 1981 A shame. Returning to what I said before... imagine all the great comics he could have produced in the 70s and 80s if he hadn't felt unable to keep a monthly schedule along with his sanity. There's not nearly as many artists that can tell a story so well- many can produce a nice pinup or cover, however. Just a very small sample of Romita's post 1960s work (although the thread features some 60's art, naturally):
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Confessor
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Post by Confessor on Oct 8, 2024 4:26:00 GMT -5
Crikey, I'm really behind with this thread now, but I'm gonna keep plodding on with my comments on the issues reviewed so far... THE AMAZING SPIDER-MAN 57–58 The cover of Amazing Spider-Man #57 is pretty good, but it's the cover of #58 that I prefer of the two. As much as this causes problems for Peter, think about his poor Aunt May whose concern for her nephew’s safety causes her to suffer yet another shock which puts her back in the hospital. Lol…Aunt May's back in hospital…AGAIN! Sweet Jesus, someone mark her as "do not resuscitate" and just be done with it! I kid, I kid…When Ka-zar, lord of the jungle comes to New York with his loyal sabertooth Zabu, J. Jonah Jameson manages to convince him to go after Spider-man and bring him to justice. It's cheesy as all hell, of course, but I really get a kick out of Ka-Zar and Zabu coming to New York. The "jungle man in the big city" schtick is something that has been explored before in this series with Kraven's appearances, but the interactions that Ka-Zar and his sabretooth tiger have with New York's police and ordinary populace are a lot of fun. Though the previous issue ends with Spider-man defeated for good… The big cliffhanger at the end of ASM #57 feels a bit forced, to be honest; surely any reader must know that Spider-Man isn't really dead. Stan's caption in that final panel, telling us that the "Battle has ended…forever!", is obviously just a deliberately misleading turn of phrase, rather than a genuine announcement that our hero is dead. I can't believe that any reader, even back in the late '60s, was fooled by this. …things are resolved fairly quickly as Ka-zar and Zabu get him to safety, and the web-swinger awakens with his memory restored. As I mentioned in my last post, I often find amnesia sub-plots to be intensely annoying, but Stan's writing and dialogue is again good enough to keep me from getting bored – though I must admit that it is a relief when Spidey finally gets his memory back. While J. Jonah Jameson’s scheme to use Ka-zar against Spider-man didn’t go so well, the conniving publisher doesn’t waste any time getting started on yet another plot. J. Jonah Jameson’s latest scheme involves Professor Smythe who has built a new version of the robot which once, almost nearly defeated Spider-man. This new robot is much more powerful than the last and, is given the more dramatically appropriate moniker Spider-Slayer. This new robot contains some of the same features as the original, including the view screen which allows Jameson to observe what the robot sees, while also displaying an image of his own face, but boasts superior strength and the ability to walk on walls. The second Spider-Slayer (though it's the first to bear that moniker) is way cooler and looks far more menacing than the original. I think John Romita was much better at designing this kind of robot tech than Steve Ditko was. As for J. Jonah Jameson, his moral and personal crusade against Spidey has already led him to align himself with several dubious individuals, but Professor Smythe is by far the loopiest…so far! To his credit though, Jameson soon realises that Smythe is insane and just out for blood-thirsty revenge against Spider-Man. Not that Smythe's mental state will stop the editor from actively bankrolling the development of a third Spider-Slayer in ASM #105 and #106. Spidey defeats the Spider-slayer by luring it to Smythe’s lab, where the spiders that he uses in his research cause the robot’s tracking circuits to overload and explode. The "robot getting its circuits overloaded" plot resolution had already been seen in many sci-fi TV shows and films by this point, but it works well enough here and at least seems vaguely plausible as an outcome. Plus, as you say, it's great to see Peter Parker, with his web-fluid depleted, having to use his brains and science smarts to defeat the Spider-Slayer. Overall, these are two great issues. Stan Lee and John Romita give us a fast-paced and hugely entertaining story, with twists and turns a-plenty. Spidey himself is really put through the wringer in #57, with his amnesia forcing him to steal food and sleep rough in Grand Central Station, and then he almost reveals his identity to JJJ because he's forgotten why he wears a mask, though he's saved by Ka-Zar crashing through the window at the last second. The soap opera elements with the supporting cast are as entertaining as ever, although they occur without Peter, since he is missing, having lost his memory. On the artwork front, Romita's work in the fight between Spider-Man and Ka-Zar is ASM #57 is really great, and the battle with the Spider-Slayer in #58 has some very inventively composed panels. So yeah, another couple of top-notch Spider-Man comics here.
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Post by jtrw2024 on Oct 8, 2024 8:04:24 GMT -5
THE AMAZING SPIDER-MAN 63 “Wings in the Night!” Credits (as they appear in the comic): Peerlessly Produced by Stan (The Man) Lee and John (Ring-a-Ding) Romita Aided and Abetted by Don (Hero) Heck Inking Mickey Demeo* Lettering Sam Rosen *(Mike Esposito is credited as Mickey Demeo) Plot Synopsis: It’s a battle of Vulture vs Vulture! No matter who wins, Spidey loses! Comments: The opening splash-page is a moody piece showing a brooding bird-like creature perched atop a towering city structure, during a torrential downpour. The pose makes it appear as though we’re looking at an actual vulture, which is appropriate and close enough, for, after the defeat of Blackie Drago months ago, Spider-man’s longtime foe the original Vulture is back for revenge! While the original Vulture seems rejuvenated and stronger than ever, Spider-man is out of his element in the rain. An unfortunate fall causes Spider-man to injure his arm, putting him at a disadvantage throughout this story. Peter is as yet unaware of the threat posed by his returned foe, but that’s okay because he’s still got other unresolved problems to deal with, particularly his strained relationship with Gwen and her father. The Vulture retrieves the spare set of wings once used by Drago, now on display at a museum, and breaks his predecessor out of jail. A great deal of the action in this issue doesn’t even involve Spider-man, but the two Vultures make up for it. Of course, even out of costume, Peter’s troubles make for compelling drama. A letter to Harry from Flash Thompson reveals that he is being shipped out to Vietnam. Although Flash joined the Army some time ago, and has returned from leave on occasion, this is the first confirmation that he hasn’t actually been to Vietnam yet. Peter’s concerns also extend to thoughts about his mortality and his secret identity and he contemplates the possibility of sharing it, though ultimately decides to continue to keep the burden to himself. A phone call with Captain Stacy causes Peter to ponder just how much Gwen’s father suspects about the web-swinger’s secret. Peter is reminded of an even greater threat to his identity when Norman Osborn arrives to visit his son. Norman is acting more and more like his old self, and continues to be tormented by images of Spider-man and the Green Goblin. The Vulture reveals to Blackie Drago, and to the readers, what he has been up to all these months. Now that he is back, the Vulture is ready to reclaim his former mantle and prove that he is the only one worthy to wear those deadly wings. A battle between the two Vultures in the vicinity of the Daily Bugle building catches the attention of people on the street. Still nursing an injured arm, Peter decides to sit this one out, but when he arrives at the Daily Bugle offices, J. Jonah Jameson drags him to the roof to photograph the battle. Peter doesn’t have his regular camera with him, but fortunately has the miniature one that he carries in his costume’s hidden utility belt. When the battle between the Vultures threatens the safety of a child watching from a nearby building, Peter makes a quick disappearance and goes in to action as Spider-man. Blackie Drago has been defeated by the original Vulture and vows never to wear the wings again, as police arrive to take him away. Having taken care of one nuisance, the original Vulture now turns his attention towards Spider-man. THE AMAZING SPIDER-MAN 64 “The Vulture’s Prey” Credits (as they appear in the comic): Produced and Presented by Stan (The Man) Lee and John (Ring-a-Ding) Romita Ably Augmented by Dazzlin’ Donnie Heck Embellishment Mickey Demeo* Lettering Artie Simek *(Mike Esposito is credited as Mickey Demeo) Comments: The second part of this story ends where the last one left off, with Spider-man injured, at the mercy of the original Vulture who has returned, deadlier than ever. After Peter Parker’s mysterious disappearance from the Daily Bugle rooftop where he was supposed to be taking pictures, J. Jonah Jameson has found another photographer to take over. The fight scenes take up most of this issue, with many pages featuring large action-packed panels, sometimes only 2 or 3 to a page. Unlike previous battles with his winged foe, where web-lines and acrobatic agility allowed our hero to move across the city, Spidey now finds himself pinned down. Although handicapped due to his injury, Spider-man still manages an impressive job warding off the Vulture’s attacks. The fight takes place in close proximity to the Daily Bugle building’s rooftop, but there are a lot of dramatic angles to keep things exciting. Both J. Jonah Jameson and Joe Robertson are on the roof watching the fight. This is really the first time Robbie’s been up close and involved in the action, and something about Spidey’s familiarity with the Bugle and its staff arouses his suspicions. The Bugle’s other photographer ducks out of the line of danger at the first opportunity, but unfortunately Joe Robertson is knocked out by some falling debris. In typical fashion, J. Jonah Jameson blames Spider-man, and even goes so far as to attempt to hold Spidey down so that the Vulture can finish him off once and for all. Ever the hypocrite, Jameson can’t see how ridiculous his actions are when he actively sides with a legitimate super-menace like the Vulture against Spider-man. In earlier stories, Jameson has shown some hesitation about actually killing Spider-man, merely wanting to capture and unmask him, but here he definitely wants the Vulture to “Rid the world of Spider-man --forever!” Spider-man webs Jameson up and tends to Robbie, but the Vulture is preparing to strike again. Meanwhile, across town, the story checks-in with the other members of the supporting cast. A startling new development occurs in this issue as Mary Jane unveils her brand new hairdo for Aunt May and Anna Watson. The mere mention of Peter’s name reminds May that she hasn’t heard from her nephew in days which, as many times before, causes concern. On a more positive note, Captain Stacy is back on his feet, fully recovered from his ordeal a few issues ago. Captain Stacy also manages to straighten things out with Gwen so that she no longer believes that Peter’s actions towards her father were an act of aggression. Unfortunately Gwen’s reconciliation with Peter does not appear to be forthcoming anytime soon. Arriving at the Daily Bugle, Gwen and her father catch the tail end of Spider-man’s battle with the Vulture. Spider-man remains in bad-shape, but through only sheer determination, he manages to endure and score a victory over his foe. The Vulture flies off in defeat, but Spider-man’s injuries finally take their toll, leaving him unconscious at the mercy of the crowd. Notes about the Reprints: These two stories were reprinted in Marvel Tales 46-47. The reprints use slightly modified versions of the original covers. The reprint of Amazing Spider-man 63 in MT 46 adds an additional caption. I think this is a pretty unexciting cover to begin with, so I can appreciate the need to enhance it. Marvel Tales 47 uses the same cover as Amazing Spider-man 64, however the angle is different, which I think takes away some of the thrill. I also prefer the way the Vulture is flying over the logo on the original cover. Both stories were reprinted in Spider-man Comics Magazine 4 (along with ASM 62). The cover of ASM 64 is used for the front cover image, while ASM 63 is reprinted on one of the pages near the back. This is actually the first issue of Spider-man Comics Magazine where all three covers to the reprinted stories are represented. Mike Esposito’s name is updated for the credits. With this issue of Spider-man Comics Magazine the contents page is printed on the inside front cover (usually it’s blank), instead of on the first page, and the preview page is totally gone. Some advertisements for other comics fill up the back pages and the inside back cover. There’s a really nice looking double-page ad for the wedding of Peter Parker and Mary Jane Watson which was a really big-deal when this issue was released. Personal anecdotes: This is one of those stories that I didn’t get to read for quite a while. If I saw the digest on the stands, I don’t recall. I definitely got Spidey’s wedding issue when it came out, so I was paying some attention at the time. I didn’t get to read these stories until they were reprinted in Essential Spider-man. I bought these Marvel Tales reprints fairly recently and read those before doing this review. I picked up Spider-man Comics Magazine 4, along with the other issues I was missing, a while back, just to complete my collection, but have never read this one. I’m happy to say though, it’s not too faded and looks readable.
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Post by tarkintino on Oct 8, 2024 20:08:02 GMT -5
THE SPECTACULAR SPIDER-MAN 1 This first issue is in black-and-white, and features a great cover, painted by Harry Rosenbaum, based on a drawing by John Romita! Left and middle: The Spectacular Spider-Man #1 (July, 1968) featuring Romita's cover design & illustration, but painted by Harry Rosenbaum, as you point out. Right: Alex Ross paid tribute to the cover with this arguably moodier painting, originally created for Peter Parker: The Spectacular Spider-Man #300, but making its debut as a single work at SDCC 2019. [/quote][/div]
This is just one of many Romita tributes or collaborations we will see with the great Alex Ross, who is quite open with his praise for Romita's talent.
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Post by jtrw2024 on Oct 9, 2024 3:59:06 GMT -5
This is just one of many Romita tributes or collaborations we will see with the great Alex Ross, who is quite open with his praise for Romita's talent.
I've always liked the way Alex Ross' paintings look over John Romita's art. Their styles really compliment one another. There's a few pieces I've seen that look so much like Ross' regular art, that I was surprised to find out John Romita provided the layouts
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Confessor
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Post by Confessor on Oct 9, 2024 8:55:37 GMT -5
THE AMAZING SPIDER-MAN 59 The cover of Amazing Spider-Man #59 – which represents the first cover appearance of Mary Jane – is one of my absolute favourites. Part of the appeal is MJ looking so damn sexy, with her mini-dress and calf-high boots – John Romita sure could draw gorgeous ladies! But I also love the juxtaposition of MJ dancing, while Spidey is beating up crooks behind the stage curtain. It's just such a lively, dynamic cover, and one which is initially deceptive insofar as it first appears to be a split panel cover, 'til you look closer and realise it's all one picture, with the curtain giving the illusion of two panels. This issue marks Peter’s official introduction to Captain Stacy. His first few appearances established that Captain Stacy had a special fascination with Spider-man, but here we get to see just how serious he is. Captain Stacy has a comprehensive collection of every film ever taken of Spider-man. George Stacy is a great addition to the supporting cast, and I've always felt that his personal and professional interest (obsession?) with Spider-Man lends a nice wrinkle to a character who would otherwise just be "Gwen Stacy's dad". Personally, I think it's in issue #59, during Peter's police interview and the scene where Capt. Stacy shows Peter his collection Spider-Man films, that George Stacy first susses out that Peter is Spider-Man. I know that the big revelation in ASM #90 that George knows Peter's secret is supposed to be a big shock, but in hindsight, there's something about Capt. Stacy's dialogue in ASM #59 which leads me to think that this is where he first deduced it. It's something about the exchange in this panel… Something in Stacy's expression and the way he says, "I've concluded that he's quite youthful -- and intelligent", to which Peter nervously stammers, "what -- has that to do -- with me?", with Stacy semi-pointedly repling, "I was wondering whether you agree with my conclusions?" I don't know, I think Stacy at least strongly suspects that Peter is Spider-Man at this point and is prodding him to try and ascertain whether his theory is right. Of course, when Gwen shows up and lays a big kiss on Peter, it’s probably hard for him to think about anything else! This is definitely a significant moment for these two characters, and things will develop even further over the coming issues. Yeah, this is the big moment when Peter and Gwen's relationship becomes something more than just a teenage crush. It's Peter's recent absence that has forced the issue and you get the impression that Gwen is so pleased to see Peter alive and well that she just can't help but kiss him. It's a great panel! For Peter's part, not only is he totally smitten with Gwen, but he admits to himself that he loves her for the first time in this story arc. Passionate stuff. Speaking of Gwen, ASM #59 is the first appearance of her fully realised, classic look. By that I mean, this is the first time she has looked like the Gwen Stacy that we all know and love, with her platinum blonde hair, black Alice band, MJ-style haircut, green mini-skirt and outfit, and big eyes. It's a look that John Romita has been inching towards since he took over on art chores from Steve Ditko, but this is the issue where all the developments coalesce to give us the classic Gwen Stacy look for the first time. The Gloom Room-a-Go-Go is a new hotspot which, with a name like that, seems like it is all set to replace the Coffee Bean or the Silver Spoon as the place to be. In reality it is a cover for a sinister criminal scheme, conceived by the mysterious “Brainwasher”. Mary Jane has gotten a gig at the Gloom Room-a-Go-Go, dancing and taking photographs of prominent citizens, unaware that this is just a ruse. The flashbulbs contain hypnotic properties, that will lure the victims into a back room where a device created by Dr. Winkler will put them fully under the Brainwasher’s control. Is it just me, or has anyone else ever felt that there's a thinly veiled eroticism to the scenes of Mary Jane dancing in the Gloom Room A-Go-Go? Like, something about the combination of her skimpy dress and boots, and her being surrounded by all those leering guys, with a number of them – including Gwen's dad!! – making vaguely sexual remarks about how much they've enjoyed watching her dance... I don't know, maybe I need to get my mind out of the gutter, but I've always thought there was a weird sort of "perviness" to these scenes. But maybe the "perviness" is just in my head! Come on though – surely I can't have been the only horny adolescent male that seeing MJ dancing at the Gloom Room A-Go-Go made an impression on, can I? Harry, Gwen and MJ leave the club with Captain Stacy, showing only mild concern over Peter’s disappearance. It’s odd how quickly Peter’s friends have just kind of gotten used to the fact that he’ll disappear without explanation. Lol…I agree, it is odd. But very necessary for the plots. Unable to sleep, Peter makes his way over to Gwen’s house to check up on her father. Things go really bad though when Peter tries to push things with Captain Stacy to see how the Kingpin’s brainwashing has affected him. Gwen walks in at a most inopportune moment. Peter, attempting to defend himself from an attack, was forced to strike out at Captain Stacy, and finds himself unable to explain things to the girl he loves. This is a classic scene, and a really good example of the "Parker luck", where Peter can't catch a break, even when he's being the hero. Spidey’s only hope of exposing the Kingpin’s plot involves taking pictures of Captain Stacy committing a theft, and getting J. Jonah Jameson to publish the photos. This of course doesn’t go over too well when Gwen sees the morning paper, with Peter’s name right there on the front page under the incriminating photo! Boy, the creators really must enjoy putting Peter’s life through the wringer. You really "feel" Peter's distress, as he's caught on the horns of this dilemma of whether to give the incriminating photos of George Stacy to J. Jonah Jameson to publish in the Daily Bugle or not. That’s even worse news for MJ, who stops by the place with Harry, to pick-up her pay-cheque. It’s not too often we see Mary Jane get serious about anything, but that expression on her face when she realizes she isn’t getting paid is all too real. I don't know if it's because I make my living from playing in clubs and bars as a musician, but I've always really felt for MJ in this scene when she realises that the Gloom Room A-Go-Go has closed down and she won't be getting paid. That really sucks! Stan Lee and John Romita are so great at making us really care about these supporting characters. As Kingpin’s men pick-up Captain Stacy and Gwen at the airport on their way out of town, Spider-man uncovers the clue which leads him to Osborn’s Plant. With some surprising assistance from Norman himself Spider-man manages to stop the Kingpin and rescue Gwen and her father from the dire fate that was in store for them. I love that Norman Osborn is sort of a hero in this fight against the Kingpin, even as we start to see his Goblin persona begin to bubble up from the depths of his subconscious. Gwen is still upset with Peter for what she perceives as betrayal against her and Captain Stacy, but she is thankful for Spider-man for saving their lives and helping to exonerate her father. Oooh, the irony! Ooh, the angst! This is exactly the kind of situation that makes Spider-Man comics so much fun to read. Overall, this three-issue arc represents another "knocked it out of the park" moment for Stan and John. There's plenty of exciting action and it's enjoyable to see Peter getting back to his supporting cast after his amnesia episode. In particular, the dynamic in the George Stacy-Gwen Stacy-Peter Parker scenes is very strong, with Peter and Gwen's relationship blossoming into something more serious, just before Peter's actions towards Gwen's dad seem destined to lose him the girl of his dreams. The irony of course is that when Capt. Stacy is cleared of his crimes, Gwen is clueless that it was Peter who cleared his name. It's great to have the Kingpin back in the comic and, even though his big plan doesn't really make sense – OK, so you're going to hide a brainwashing machine in a teen discotheque and expect important and influential middle-aged men from New York's establishment to show up…gotcha?!! – he does come across as even more ruthless and dangerous than he was in his previous appearance. Oh, and seeing the first hints of Norman Osborn starting to succumb to his Goblin persona again is really gripping.
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Post by jtrw2024 on Oct 9, 2024 9:30:51 GMT -5
George Stacy is a great addition to the supporting cast, and I've always felt that his personal and professional interest (obsession?) with Spider-Man lends a nice wrinkle to a character who would otherwise just be "Gwen Stacy's dad". Personally, I think it's in issue #59, during Peter's police interview and the scene where Capt. Stacy shows Peter his collection Spider-Man films, that George Stacy first susses out that Peter is Spider-Man. I know that the big revelation in ASM #90 that George knows Peter's secret is supposed to be a big shock, but in hindsight, there's something about Capt. Stacy's dialogue in ASM #59 which leads me to think that this is where he first deduced it. It's something about the exchange in this panel… Something in Stacy's expression and the way he says, "I've concluded that he's quite youthful -- and intelligent", to which Peter nervously stammers, "what -- has that to do -- with me?", with Stacy semi-pointedly repling, "I was wondering whether you agree with my conclusions?" I don't know, I think Stacy at least strongly suspects that Peter is Spider-Man at this point and is prodding him to try and ascertain whether his theory is right. I hadn't really thought much about when Stacy actually came to that conclusion. I doubt the creators were thinking far enough ahead to know when the big revelation would come out, or how things would develop. Still it's interesting that they may have decided to write the character as though he actually knew nearly from the start, while keeping things vague for the readers just to see how things would play out.
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