A Look Back At Superman and Spider-Man

I miss the old times when big rivals Marvel and DC Comics would set aside competition temporarily to team up and rely on their respective comic creators to make superhero crossover comic books that the fans can enjoy.

Back in the 1970s, key developments related to the comic book adaptation of The Wizard of Oz brought the two rivals together as partners. In 1976, Marvel and DC’s first superhero crossover Superman vs. The Amazing Spider-Man got published and to this day many comic book collectors and geeks I encountered still enjoy it. A few of them even called it a classic.

The collaboration between Marvel and DC continued in 1981 with Superman and Spider-Man which was published as issue number 28 of the Marvel Treasury Edition series.

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The cover.

This is my look back at Superman and Spider-Man.

The comic book

Scripted by then Marvel Comic editor-in-chief Jim Shooter (with Marv Wolfman mentioned for plot suggestions) with art drawn by John Buscema and inkwork done by Terry Austin, Al Milgrom, Steva Leialoha, Walt Simonson, Bob Layton, Joe Rubinstein and Bob Wiacek, the comic book begins when Spider-Man swings into a construction site where he encounters several armed men and stops them singlehandedly.

Even though he stopped the bad guys, Spider-Man’s spider sense bothers him making him speculate that, because there’s no clear danger around him, the construction site seemed to be a threat.

After Spider-Man swings away from the police who just arrived, classic Marvel supervillain Doctor Doom watches via surveillance video and he was bother by the way things turned out.

“I did not like the way Spider-Man paused and look around after subduing the thieves – – as if he sensed something unusual about the excavation! Those accursed spider instincts of his,” Doom said before proceeding with his master plan.

A day later, the Hulk arrives in Metropolis causing lots of damage. Separately Superman and Spider-Man arrive to contain the green guy. However, things are not what they seem. This is where the story description ends.

Quality

What this comic book lacked compared to the 1976 Superman-Spider-Man crossover is visual impact. Clearly John Buscema had to follow closely the script which called for multiple panels per page and that left him little room to draw scenes dynamically. That’s not to see the art is weak. In fact, Buscema’s art is pretty good and he has deep knowledge about how the characters (including those many supporting characters and other minor characters from both Marvel and DC Comics) really looked from the size of Hulk’s body, the details on Wonder Woman’s costume, the distinctive look of J. Jonah Jameson, Perry White, etc. In short, I recognized the characters very easily.

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This remains fun to read.
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Peter Parker in Metropolis along with the Superman supporting characters. This is one great element that made this comic book worth reading.

While the high number of panels per page limited him, Buscema managed to come up with some action shots that packed some impact.

When it comes to writing and storytelling, this comic book exceeds that of the 1976 Superman-Spider-Man crossover big time! To start with, the plot is much more elaborate, more detailed and yet consistently remained easy to follow.

While the 1976 crossover had the most popular villains of Superman and Spider-Man as the representation of evil, this one instead had Dr. Doom and Parasite. The great news is that these two super villains complement each other nicely and that itself adds good depth into the plot. Dr. Doom is a major schemer and Parasite fitted nicely within his master plan for global chaos.

Regarding dialogue, the script had a lot of strength and was also specific in capturing the personalities of the superheroes, the super villains and the supporting cast. I can easily identify J. Jonah Jameson, Perry White, Lois Lane and others through the dialogue.

Not to be outdone is the deeper approach to the crossover aspect of the story. Right from the start, the comic book creators expected us readers to suspend disbelief and start believing that while the story is non-canon, the respective universes of Marvel and DC Comics co-existed. Because there were TV shows of Wonder Woman and the Hulk playing, the two characters were included in the comic book adding depth to the crossover.

Speaking of crossovers, this comic book was not limited to Superman and Spider-Man. The encounter between the Hulk and Superman was a short but sweet spectacle to read. The encounter between Wonder Woman and Spider-Man meanwhile was short yet fun.

Adding more to the fun in this comic book was how Clark Kent interacted with the Spider-Man supporting characters while Peter Parker interacted with the Superman supporting characters. I enjoyed every moment of these scenes.

As far as narrative is concerned, this comic book is slightly slanted towards Superman. One factor behind this was the implementation of how local authorities interact with Superman and Spider-Man. Whenever he solves crime, Superman is highly respected by the public and the police. This is not the case with Spider-Man who is often perceived to be a social menace even though he helps solve crimes. Another factor was that Superman did more detective-type work (including a visit to Latveria) while Spidey hardly contributed anything to the plot’s development.

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Nothing can be more frustrating than getting attacked by police officers when you try to help them solve their problems.

Regardless, the two icons got a fair share of the spotlight during the final stages of the story and there was enough spectacle to enjoy.

If there is any complaint I have, it would be the comic book creators’ reluctance on fully connecting itself to the 1976 crossover. In the scene wherein Peter Parker was guided into the film editing room by Jimmy Olsen, he recognized Lois Lane and remembered meeting her in the 1976 crossover (which ended with socializing). And yet when Spider-Man and Superman get together in this comic book, there was a noticeable lack of friendliness and personal cooperation between them even though they bonded nicely in the 1976 story.

Conclusion

Overall, Superman and Spider-Man is indeed a highly engaging, fun-filled superhero crossover comic book. For me, it is a true literary classic and definitely worth searching for out there. I read this crossover many times from start to finish and even though I knew the plot and the dialogue, I still had a lot of fun reading along the way. With the combined talents of Shooter, Buscema and many others, this superhero crossover was indeed one of the very best stories ever told by Marvel and DC Comics.

Given the current corporate climate Marvel and DC Comics are now in, it is very unlikely we will see another creatively fun superhero crossover collaboration between them happening soon. For the newcomers reading this, Marvel is owned by the Walt Disney Company while DC Comics is owned by Warner Bros.

Whether you search for the original comic book or its inclusion in a volume of The Marvel/DC Collection: Crossover Classics Volume 1, Superman and Spider-Man is highly recommended!


Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. Also my fantasy book The World of Havenor is still available in paperback and e-book format. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

 

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A Look Back at Avengers #366

Back in the early 1990s, collecting comic books that had #1 on their cover or had a special cover on the front was a trend among comic book collectors. Marvel Comics back then was well known for releasing comic books with gimmick covers using material like foil, holograms, embossed art and the like. They also released comic books with gimmick covers when a comic book series reached its “anniversary” with the 25th issue, 50th issue, 75th issue, 100th issue and so on.

Then something happened in 1993. Marvel celebrated the respective 30th anniversaries of the X-Men and the Avengers that year and that meant releasing comic books with gimmick covers as well as some related merchandise to entice the fans and the collectors.

Here, I discuss with you Avengers #366.

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The “gold” gimmick cover of Avengers #366.

Released in 1993, Avengers #366 marked the 30th anniversary celebration of its franchise and for a cover price of $3.95, it had a gimmick cover and over 60 pages of content.

The story begins with the Avengers – composed of Captain America, Sersi, Black Widow, and Hank Pym watching a situation. Sersi reveals that Dane/Black Knight is being tortured and that they have to rush to stop the bad guys who captured him. Vision arrived suddenly to their surprise and tells them that Black Knight, Crystal, Hercules and Deathcry have been captured. More startling is that the Kree brought a nega-bomb to Earth. The said weapon was used by the Kree to kill billions of inhabitants. Running out of patience, Sersi tells her teammates that immediate action is needed and angrily she flew out of the Avengers headquarters determined to make the Kree pay. Immediately the Avengers assembled and moved on to rescue their friends.

In terms of storytelling, the comic book has a predictable tale about its superheroes moving to help their suffering teammates. Of course, even though I won’t spoil the plot, it’s obvious where the story is going. To fill the many pages, there is a lot of expository dialogue as well as character interaction moments in between scenes.

When it comes to action and spectacle, there is a lot to see here and there although the quality of the art keeps them from being dynamic.

There is also one additional story published and it even has Deadpool in it.

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This is how the Avengers looked like in 1993.

For a comic book celebrating the Avengers’ 30th anniversary, I found it weird that the Avengers #366 lacked any retrospective to the origins of the franchise. It’s like the publisher did not want readers to remember how the Avengers were formed, who were the original members and why the team was formed in the first place. In other words, the story was nothing special and it does not justify the gimmick cover.

If you are a fan who started liking the Avengers franchise because of Marvel Entertainment movies, then this comic book will most likely not appeal to you. The Hulk, Iron Man and Hawkeye are not included and the style of spectacle will most likely fail to impress you. However, if you are an Avengers fan who started reading the comic book series at least a few years before 1993, this one just might entertain you temporarily.

Looking back in 1993 when I barely had enough money to buy new comic books, I’m glad I never bought Avengers #366. By comparison, the 30th anniversary celebration of the X-Men was better and more engaging with the Fatal Attractions storyline.

 

A Look Back At Fantastic Four #375 (1993)

When it comes to cinema, Marvel’s Fantastic Four has yet to achieve greatness commercially and critically. Already four movies were made and the last one released in 2015 was so terrible, I felt that the Fantastic Four brand suffered.

Truly the best way to enjoy the stories of Fantastic Four is in the comic books with a long bridge connecting to its past. Through the decades no doubt. Like any other comic book series, Fantastic Four had its high points, low points as well the unusual or intriguing stuff.

Today we take a close look at Fantastic Four #375.

Released in 1993 by Marvel Comics at a prize of $2.95, Fantastic Four #375 came with a foil cover which shines under direct light. The gimmick cover, which was part of the trend of the 1990s, had that “Bling!” visual effect when the brightest light is used on it.

Written by Tom DeFalco and drawn by Paul Ryan, the comic book follows the Fantastic Four with Lyja and Sharon who find themselves suddenly transported into space inside a facility with Uatu, the Watcher. They learned from Uata that their mortal enemy Doctor Doom usurped the power of a renegade Watcher called Aron. Uatu expressed that Doom has grown into a greater threat.

The Fantastic Four and their companions split up in an attempt to find Doom before it is too late.

Storywise, the splitting of the protagonists allowed some notable character development moments to happen. I liked the scene wherein Sharon tries to comfort Ben (The Thing) whose solid face got damaged by Wolverine during a very recent encounter (told in Fantastic Four #374) which makes him vulnerable to excruciating pain when he gets hit on the soft spots. Johnny Storm meanwhile deals with the Skrull woman Lyja whom he has a conflict with. And then there is Reed Richards with wife Sue struggling with some issues as they work together.

Sue said to Richard: I can’t believe that you allowed the Watcher to buffalo you into fighting his battle especially since Johnny is still wanted by the police back on Earth!

When they finally confront Doom, there was this division between them.

Richard: Susan! We must protect the optimizer at all costs!

Sue: Then you guard it! If he’s hurt my brother, Doom is mine!

When it comes to quality, the story can be hard to grasp if you missed out on the previous issues. This was because the conflicts between the characters clearly started from some time back. Also it was interesting to see the Inhumans in the mix.

On spectacle, there is a lot of action to satisfy readers. As this was released in 1993, the 1990s superhero trends were unsurprisingly present such as those large futuristic guns and excess pouches/pockets. While they do make sense in the context of the story, the use of guns by key members of the Fantastic Four (which is reflective of the decade of the comic book’s release) can be alienating to any Fantastic Four fan who has gotten used to seeing the team NOT using such weapons.

Artist Paul Ryan, for the most part, delivered serviceable visuals and clearly tried his best to add impact on the action scenes.

Overall, Fantastic Four #375 delivers some temporary fun. Is it a very memorable Fantastic Four story? Absolutely not. Is it a must-read or a must-buy for new comic book collectors? Not really. In my opinion, the most engaging feature of the comic book is just its shiny cover. Once readers get past the cover and immerse themselves into the story, they won’t got much value in return other than temporary fun.

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The cover with the “Bling!” visual effect under bright light!

 If you find Fantastic Four #375 at a bargain bin for less than $1, then it would be a good purchase. Don’t pay any higher than $1 for it.


Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. Also my fantasy book The World of Havenor is still available in paperback and e-book format. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com