J. Jonah Jameson – Author Carlo Carrasco

A Look Back at What If #19 (1980)

August 16, 2024August 2, 2024carlocarrasco

Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1980 to examine an alternate story of the Marvel Comics shared universe chronicled through the What If monthly series.

Spider-Man is clearly Marvel Comics’ greatest icon. He is the one Marvel superhero who is easily recognized around the world through the many comic books published, the animated TV shows and the big-budget Hollywood movies released. Given Spider-Man’s real-life fame as a pop culture and American icon, one has to wonder what would it be like had the webslinger decided to have a career in showbiz instead of fighting bad guys. How can Spidey realize that with great power comes great responsibility if he is so focused on being an entertainer?

With those details laid down, here is a look back at What If #19, published in 1980 by Marvel Comics with a story written by Peter Gillis and drawn by Pat Broderick.

Early story

The story begins far into Spider-Man’s past when he started as an entertainer. Spider-Man sees a police man chasing a thief down the hallway (note: this was a key moment in the life of Peter Parker who went to become a crime fighter as Spider-Man). Instead of letting the thief get away, Spidey uses his web to stop him which enabled the police officer to apprehend him.

The next day, the Daily Globe published a front page story showing Spider-Man (described as a TV star) stopped the crook which established him as a heroic entertainer. The story bothered J. Jonah Jameson (The Daily Bugle) so much not only because the rival newspaper reported it but also because he perceived it as a glorification of so-called superheroes.

Elsewhere, Spider-Man and a famous film producer talk about making a movie about him that can really entertain a lot of people…

Quality

*As Spider-Man makes waves on television as an entertainer and endorser, J. Jonah Jameson tells the media the difference between real heroes and the costumed ones with super powers.*

Considering the history of Spider-Man, it is both difficult and risky to come up with a new reality that diverged from the key moment of the icon’s past (letting a crook get away from the chasing cop) resulting in a completely new version of him – Spider-Man as an entertainer. The good news here is that Peter Gillis’ script is solid and its scenes were nicely arranged to make this new version of the icon believable.

As shown on the cover of this comic book, the tale shows Spider-Man as a celebrity who found success and wealth in showbiz. Along the way, the classic Peter Parker gradually transforms into a new version who is not only focused on entertaining people but also engaging in publicity wars without ever becoming journalist. Since Marvel’s most famous icon does not fight crime, you will see him as an entertainment entrepreneur, a fighter through publicity, and as someone who enjoys the high life that most Americans don’t have.

In relation to the concept of the story, J. Jonah Jameson and Daredevil became the next important players to Spider-Man. Jameson is the rival of the webslinger but not necessarily the villain. Through Jameson, you will not only witness how he misuses his power at The Daily Bugle but also his interactions with criminal elements as he searches for ways to deal with Spidey. When it comes to Daredevil’s role, I encourage you to read the comic book to find out.

The story by Gillis moved at a medium-to-fast pace and for each build-up done, pay-offs were satisfying to read. When it comes to the scope of the story, this alternate reality is actually captivating to follow from start to finish.

Conclusion

*Can you just imagine how different superhero comics would have been in real life had Marvel actually depicted Spider-Man as a showbiz figure?*

What If #19 (1980) is a very solid and captivating comic book to read. The creative duo of Peter Gillis and Pat Broderick succeeded in selling the concept of what would happen had Spider-Man became an entertainer instead of fighting evil figures that hound society. Apart from showing a drastically different version of Spidey, the story will compel you to think about the relevance of superheroes in society, why becoming a major player in showbiz is chaotic, and how could Peter Parker be responsible with the power (related to showbiz) he has without combating evil.

Overall, What If #19 (1980) is recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. 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 with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco

A Look Back at Amazing Spider-Man #252 (1984)

May 29, 2024July 3, 2024carlocarrasco

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1984 to examine a small part of the Marvel Comics universe through a tale of the Amazing Spider-Man monthly series.

By now, you readers should be aware that I reviewed a lot of comic books about Spider-Man and his deadliest enemy Venom. It is already established through comic book history that the iconic webslinger is responsible for the establishment of Venom as he brought into the world the alien costume (the symbiote) coming from deep space (as told in the Secret Wars limited series), and he also became responsible for the destruction of Eddie Brock’s career in journalism. Of course, Venom did not debut immediately after Spider-Man’s return from Secret Wars and there was a lot more about the symbiote when it was with Peter Parker.

With those details laid down, here is a look back at Amazing Spider-Man #252, published in 1984 by Marvel Comics with a story written by Roger Stern and Tom DeFalco, and drawn by Ron Frenz. This comic book marked the first appearance of the alien costume.

Early story

The story begins inside the New York headquarters of the Daily Bugle. It has been observed that several superheroes such as Captain America, Thor, Spider-Man, Iron Man, the X-Men and the Avengers have been missing this resulted in a rise of crime. Publisher J. Jonah Jameson and editor-in-chief Joe Robertson discuss the newest edition of their newspaper.

Meanwhile over at Central Park where police officers and others stand by an area that was closed off, a physical structure suddenly appears spreading bright light to onlookers. Suddenly Spider-Man (wearing a new dominant black costume) leaps out of the structure carrying Dr. Connor (the Lizard) surprising the people.

After realizing they have returned home at last after spending lots of time and struggle in deep space (Secret Wars), Spider-Man could not help but feel jubilant to be home. As the police officers don’t realize that they are talking with the same webslinger due to the new costume, one of them was about to draw his gun which prompted the superhero to use his web on him.

Suddenly, the Avengers, Captain America, Thor and Iron Man emerge from the physical structure which provided Spider-Man relief as he thought that only he and Dr. Connors made it home. With the people focusing on the other superheroes, Spider-Man and Dr. Connors slowly exited. Connors asked him what are they going to tell the world about all they have seen and experienced in deep space…

Quality

*Spider-Man’s first night in New York wearing the alien costume .*

I really like this story. I first read this a long time ago and I re-read it all over again for this retro review, and still this story engaged me a lot. There is a lot of richness in the script and you will get to see Peter Parker transitioning into a series of major changes that await him. Without spoiling the plot, there is no hero-versus-villain element here at all. It is all about Spider-Man who just arrived home from a major conflict (and also one of the most significant comic events ever published by Marvel Comics) and the alien costume saga truly began right here. The Venom debut did not happen until a few years later in reality.

In accordance to what was established in Secret Wars (not to be confused with the 2015 series of the same name) and the standards of then editor-in-chief Jim Shooter, the creative came up with a tale that not only showed a different Spider-Man but also portrayed him in ways that defied the tropes and creative ideas the preceded this comic book.

For one thing, Peter Parker is literally like a fish out of water here. As far as the whole world is concerned, only days passed when the superheroes went to deep space. But for the webslinger, a lot more time passed as so many battles, discoveries and intriguing events took place for him along with the others. That being said, Peter Parker’s perception of reality and track of time really got messed up and the weight of Secret War’s events really turned out overwhelming on him. This was well dramatized in the scene wherein Peter – who realized that so much time had passed – he had to call his aunt May fearing that she must be worried sick over him. There was also the moment when by walking down the street, he realized how much he missed not only his home but also the local surroundings.

It was also in this comic book when Peter started getting more oriented with the alien costume he first got in Secret Wars #8 (which was actually published after this comic book) and started to enjoy the benefits with the way it responds to his thinking. Of course, at this stage, he has yet to realize the unfortunate truth about the living costume he brought home and this story really kicked off a new and profound stage in the comic book history of Spider-Man

Conclusion

*When Spider-Man finally arrived home after spending so much time during Secret Wars.*

Amazing Spider-Man #252 (1984) is still a great comic book to read all over again. This was released during the time when Secret Wars (1984) was still being published and years before Venom’s big debut in the series’ 300^th issue. In my view, the alien costume saga was a big turning point in the literary history of Spider-Man and the creators who got involved in this comic book really sowed the seeds of compelling and intriguing events that followed. What is intriguing is that all of these significant developments started when a Marvel Comics reader from Illinois came up with the idea of a new costume for Spider-Man, wrote to them and the publisher responded to acquire his idea for over $200 (click here).

This comic book is also a reminder of how significant Jim Shooter’s rule at Marvel Comics really was and I can say that the Marvel’s literary universe of the 1980s should not be ignored.

Overall, Amazing Spider-Man #252 (1984) is highly recommended!

+++++

A Look Back at Amazing Spider-Man #375 (1993)

May 15, 2024May 5, 2024carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1993 and examine a small part of the Marvel Comics universe through a tale of the Amazing Spider-Man monthly series.

In my previous retro comic book review, the insane murderer Venom returned to antagonize Spider-Man by targeting his parents. While it was a fact that Venom – who knew Spider-Man’s true identity – got into close contact with Aunt May (symbolizing the danger he poses on the Peter Parker’s family) a few years prior, going after the mother and father of Peter really raised the stakes.

With those details laid down, here is a look back at Amazing Spider-Man #375, published in 1993 by Marvel Comics with a story written by David Michelinie and drawn by Mark Bagley. This comic book marked the 30^th anniversary of Amazing Spider-Man #1 (1963).

Early story

The story begins inside one of the facilities of the closed amusement park in Brooklyn. In his vicious form, Venom tells Richard and Mary Parker (both restrained) that they belong to him and declares that he would protect them from Spider-Man.

When Richard Parker asked why would he think that they would have anything to do with Spider-Man, Venom realizes that the couple does not even know their son is the webslinger. Venom tells the couple that their innocence is what he is sworn to preserve.

Over at Manhattan, Spider-Man swings back to the Daily Bugle building and discreetly changes his clothes before moving in as photographer Peter Parker. Inside one of the offices, J. Jonah Jameson reaches out to Silver Sable by telephone…

Quality

*Peter Parker had to commit a crime by trespassing into Anne Weying’s residence. His disguise as Spider-Man does not protect him from the law.*

I have mixed feelings about this follow-up to the great story of the previous issue. For one thing, David Michelinie’s script had a completely different tone and direction even though he intended this comic book to conclude what issue #374 started. Another thing is that this story has even more characters added in which clearly diluted the intensity of the Venom-Spider-Man rivalry that was so intense in the previous issue.

There are two sub-plots – one of which deals with someone from Eddie Brock’s past – that were emphasized with sufficient details and the creative team integrated them into the main story. It seems that the creators intended to make the main story look grander in scope while sacrificing the very elements that made issue #374 a great and intense reading experience.

Remember the suspense and danger that came with Venom targeting the older Parker couple? Those elements are almost totally absent in this comic book even though this story concluded the previous issue’s conflict build-up. Richard and Mary Parker are both present as captives of Venom but there really is no tension nor any sense of danger here due to the drastic change of tone and direction in the script.

I should also stress that the introduction of Anne Weying (previously Anne Brock) as Eddie Brock’s ex-wife looked and felt like an afterthought inserted into the story. While Anne’s presence brought out some traces of humanity and sanity from Venom during the 2^nd half of the story, it did not add much impact on the conflict between the webslinger and the symbiote-wearer murderer. Ultimately, the creative team had to do something to explain the story build-up on Venom’s part leading into the Lethal Protector limited series which is set in the city of San Francisco.

And then there was the presence of Silver Sable’s team called the Wild Pack. The Wild Pack is the result of J. Jonah Jameson’s agreement with Silver Sable with the objective of achieving a journalistic exclusive for the Daily Bugle. This particular sub-plot is really lousy and not even the dynamic looking action sequences involving the Wild Pack could hide lousiness.

If there is anything symbolic about the script, it is the emphasis on family as well as the impact that comes with elements of the past emerging unexpectedly. In this very comic book, you will get to see Eddie Brock/Venom react like a sane person in response to the sudden re-appearance of his former wife. No matter what the creative team did here, I can say that the Spidey/Venom conflict did not really intensify (note: the dynamic action scenes did not solve the shortcomings) and there was no reason to worry about the captive Parker couple.

Conclusion

*The insane murderer Venom with the parents of Peter Parker.*

Considering the great stuff and raised stakes that made issue #374 a very compelling read, Amazing Spider-Man #375 (1993) is clearly a disappointing conclusion. This is not a terrible comic book as it has some good stuff for fans to enjoy but the overall presentation of the creators here is not too great due to their approach with the storytelling (with two sub-plots that did not add much). Overall, I am glad I never bought this comic book (with flashy cover and more pages) at full price in 1993.

Overall, Amazing Spider-Man #375 (1993) is satisfactory.

+++++

A Look Back at Amazing Spider-Man #268 (1985)

February 17, 2023January 21, 2023carlocarrasco

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the 1980s and examine a small part of the Marvel Comics universe through a tale of the Amazing Spider-Man monthly series.

Back in the year 1985, Marvel Comics published their big-time limited series Secret Wars II, which saw the arrival of the powerful yet ignorant deity Beyonder on Earth. As a major publishing event spearheaded by then editor-in-chief Jim Shooter, Secret Wars II had events that impacted a certain number of regular monthly comic book series whenever an issue was released. In one of the early issues of Secret Wars II, the Beyonder converted an entire tall building within New York City into pure solid gold. As the golden building could not support its own weight, it collapsed and the authorities scrambled to secure the perimeter. Spider-Man himself gets involved by rescuing the victims and he learned something along the way (as seen in Web of Spider-Man #6).

With those details laid down, here is a look back at Amazing Spider-Man #268, published in 1985 by Marvel Comics with a story written by Tom DeFalco and drawn by Ron Frenz.

Early story

The story begins with Spider-Man swinging high and noticing that the perimeter of the collapsed building of pure gold has been covered (with a large tarpaulin) and secured by armed personnel. People were not allowed to pass which makes them speculate about what happened. Having witnessed government operative Anderson compensating the Kingpin with typewriters made of pure gold secretly, Spider-Man is deeply troubled and decides to go home to take a rest.

At the site of disaster, several personnel equipped with laser weapons worked hard to cut down every part of the collapsed building and transport as much gold as possible onto trucks which are tasked to deliver them to a huge cargo ship at the city’s port. The authorities are concerned that the excessive amount of gold from the collapsed golden building will cause tremendous shockwaves in the world’s markets and they strive hard to keep everything secret…

Quality

*Spider-Man sneaking on to the ship as he pursues answers to hot questions about what has been going on.*

Being a tie-in story to Secret Wars II, this is indeed a really unique Spider-Man story that does not put the iconic hero in direct conflict with a powered villain at all which can disappoint certain readers and fans who craved for action-packed conflicts. Instead, this story was designed to be a mystery which strongly reflects the consequences of the Beyonder’s action during his presence in New York. You will get to see Spider-Man work on finding out the answers to all the questions in his head and his knowledge about the involvement of the Kingpin and the United States government were more than enough to motivate him to figure things out even though it means putting himself at risk with powerful authorities.

In terms of story structuring and presentation, the tale moved at a moderate pace and the creators took their time with the revelation of key details (clearly designed to cause intrigue with the readers) as the narrative moved forward. This is indeed an engaging read and it has aged well.

Conclusion

Amazing Spider-Man #268 (1985) is an intriguing and entertaining read even though it does not have Spider-Man in direct physical conflict with a bad guy. The Kingpin, an established supervillain, is present in the story mainly as a background character who still has strong influence with the sinister forces present. The biggest feature of the comic book is the situation itself (local efforts on dealing with the collapsed building of pure gold while preventing the public from knowing all about it) which got triggered by the Beyonder’s reckless act of trying to help humanity by turning a building into pure gold believing that it would help all people financially and socially. As for Spider-Man himself, it is refreshing to see him work his way through in a mystery tale and this comic book has a very solid approach on mystery.

Overall, Amazing Spider-Man #268 (1985) is recommended.

+++++

A Look Back at Superman vs. The Amazing Spider-Man (1976)

February 14, 2023January 10, 2023carlocarrasco

Welcome back superhero enthusiasts, 20^th century arts and culture enthusiasts, fans of Marvel and DC Comics, and comic book collectors! Today we go back to the year 1976 to examine what is truly a landmark event in the history of superhero comic book publishing – the first-ever superhero crossover event of Marvel Comics and DC Comics with Superman vs. The Amazing Spider-Man (also referred to as Superman vs. Spider-Man for short).

For the newcomers reading this, I previously reviewed the 2^nd Superman-Spider-Man crossover comic book titled Superman and Spider-Man. That was released in 1981 and was handled by a different creative team (led by Jim Shooter as writer) compared to the 1976 crossover of the two icons of Marvel and DC. Going back to the 1970s, a crossover between Marvel and DC looked like an impossible dream as the idea of the two companies coming into agreements over the legal, creative and financial aspects was perceived to be unachievable. Indeed there were headaches and challenges during the negotiations but ultimately Marvel and DC came into an agreement to publish a special comic book featuring Superman, Spider-Man and the related supervillains and supporting characters from both sides. Take note that the two publishing giants worked together previously with publishing an official comic book adaptation of the movie The Wizard of Oz (1939).

With those details laid down, here is a look back at Superman vs. The Amazing Spider-Man, published in 1976 by Marvel Comics and DC Comics with a story written by Gerry Conway and Ross Andru. This crossover event was described as the battle of the century.

Early story

The story begins at the World News Conference in New York City. Separated by several feet apart, Clark Kent (Superman) and Peter Parker (Spider-Man) arrive with their respective companions and associates. What the two heroes do not know is that Lex Luthor and Doctor Octopus recently escaped from prison.

Peter Parker gets berated by his boss J. Jonah Jameson for not being good enough as a photographer while Clark Kent learns the bad news from Edge Morgan that he is not wanted for the coverage of a national convention.

Shortly after, Lois Lane climbs up a scaffold to get a good view for some photography. Just as she is about to fall down, Peter Parker suddenly grabs her and pulls her to safety. After an exchange of pleasantries, Peter introduces Lois to Mary Jane Watson. Just as MJ and Lois start conversing, Superman suddenly arrives. The Superman figure then fires beams of light from eyes to Lois and MJ, causing them to vanish into thin air. It turns out, the caped figure is an impostor as Peter Parker and Clark Kent react in shock.

Peter quickly runs to the roof of the building and changes into Spider-Man. As soon as he leaps into action, he comes face to face with Superman himself…

Quality

*Superman, Spider-Man, Luthor, Dr. Octopus, Lois Lane and Mary Jane Watson shown in this scene.*

I can loudly say that this is one pretty enjoyable crossover tale that not only featured Superman and Spider-Man, but also gave their respective mortal enemies Luthor and Dr. Octopus a good share of the spotlight. To be very clear, the story and set-up of scenes do have a somewhat restrictive structure as the creators clearly did their best to make the spotlight on the characters more or less equal in terms of imagery, dialogue amount and the sharing of dynamic shots. While some may easily complain about the so-called old and tired formula of the major characters getting into fighting each other due to a misunderstanding followed by setting aside their differences to work together, take note that the said formula worked really well in this story written by Gerry Conway.

The story concept Conway came up was clearly made to justify Superman and Spider-Man encountering each other (note: the same goes with the super villains and supporting characters) and the way he wrote the two interacting with each other worked seamlessly and convincingly. There are lots of nice exchanges of dialogue between the Man of Steel and the webslinger.

*Even the superiors of Clark Kent and Peter Parker had their own crossover.*

*Don’t let the woke and socialists fool you. There is nothing racist in this comic book. Wokeness is foolishness. Political correctness distorts perception of reality.*

Even though the script has this set of creative restrictions to ensure fairness on both Marvel and DC’s sides, the synergy of friendship and cooperation between Superman and Spider-Man is fantastic to read. Similar qualities are also evident with the scenes of Luthor and Dr. Octopus. Very clearly, the creative team did intense research on the Marvel and DC characters and found ways to create a unique mix that resonates with the fans of Superman and Spider-Man.

As expected, this comic book has lots of superhero spectacle for readers to enjoy. The superhero violence is not intense but the action scenes were entertaining to look at. In my opinion, the highlights of the spectacle here is when Superman and Spider-Man literally exchanged mortal enemies to fight with. As for the fight between the two icons as emphasized in the title, it definitely is a special event that really kicked the story into high gear.

While this is indeed a fun superhero crossover to read, there are some notable weak points here. For one thing, the plot itself lacks a strong concept and Luthor’s evil plan is very flawed and unconvincing. That being said, as I read and re-read this comic book, there never was a sense of danger building up nor was the Luthor-Dr. Octopus team ever a grave threat.

Conclusion

*This is only a small sample of the fun in the battle between Superman and Spider-Man.*

By today’s standards, Superman vs. The Amazing Spider-Man (1976) is still a fun superhero crossover comic book to read and it remains as a significant part of not just Marvel and DC’s history of collaboration but also that of inter-company superhero crossover comic book publishing in general. While it is better than many other inter-company superhero crossover comic books I have read through the decades, this one is certainly not the best one from Marvel and DC. For me, Superman and Spider-Man (1981) has a more elaborate plot, higher fun factor and deeper impact than this comic book. Meanwhile, Batman vs. The Incredible Hulk (1981) exceeded this comic book in terms of plotting, character interactions, super villain portrayals and establishing a real sense of danger that requires the super heroes to solve. Still, Superman vs. The Amazing Spider-Man (1976) remains an enjoyable read and it definitely is worthy as the strong beginning of Marvel-DC superhero crossover projects of the 1970s and 1980s. It also has more dynamic visuals than its 1981 sequel. This one is also part of the Crossover Classics: The Marvel-DC Collection paperback.

Overall, Superman vs. The Amazing Spider-Man (1976) is recommended!

+++++

A Look Back at What If #21 (1991)

February 6, 2023November 20, 2022carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1993 and explore a part of Marvel Comics’ universe through the re-imagined tales emphasized in the What If monthly series.

Some time ago, I reviewed What If #20 (1990) which explored what would have happened had Peter Parker/Spider-Man did not marry Mary Jane Watson. While that comic book’s story and visuals were engaging, the narrative weakened before the end and it turns out the tales was not really designed as standalone What If story. That being said, the story continues on in the 21^st issue of the What If series that I just reviewed.

With those details laid down, here is a look back at What If #21, published in 1991 by Marvel Comics with a story written by Danny Fingeroth and drawn by Jim Valentino.

Early story

The story begins with a man – who overheard the talk between Black Cat and Mary Jane Watson during the end of issue #20 – who calls someone and starts a negotiation. The unseen person on the other end of the call is not seen but the man knows about the other person’s history of attempts to kill Spider-Man.

Within the City of New York, the romantically bonded Spider-Man and Black Cat work as a crime-fighting duo bringing crooks down. Shortly after, they get married in a private ceremony in Niagara Falls, New York using fake names (Peter Parker as Peter Palmer, and Felicia Hardy as Felina Marvey). During their first night together as husband and wife, Felicia gets out of bed surprising Peter. It turns out, Felicia is in the mood for crime-fighting. This brings them back to New York City where they resume their anti-crime crusade as Spider-Man and Black Cat.

Peter Parker notices something with his new wife. No matter what she says as Black Cat, she is still in love with his Spider-Man identity and only tolerates his true, civilian identity. He wonders if Felicia will come to accept the real him…

Quality

*The Vulture attacks Spider-Man’s wife Black Cat.*

To begin with, this comic book has a much stronger story, deeper character development, solid twists and a very intriguing conclusion that also happens to be a lot more satisfying compared with issue #20.

For one thing, the team of Fingeroth-Valentino really ramped up their imaginative creations and took this tale to more daring directions. The core concept of Spider-Man and Black Cat being married is deeply explored which resulted in a tale that is intriguing for most of the time. Their marriage also raises questions as to how Spider-Man and Black Cat perceive each other both as civilians and as costumed crime fighters. Also explored nicely was how they handled their secret identities while struggling with their own emotions deep inside. To say the least, seeing Spider-Man and Black Cat as a married couple as well as a dynamic duo of crime fighters makes a solid reading experience.

I should also state that there is a lot of story and characterization-development pay-offs that reflect not only what was built up in this comic book but also in issue #20. To really enjoy and experience this issue, you must read the previous issue as well.

Conclusion

*Spider-Man and Black Cat as the married couple and duo of crime fighters.*

What If #21 (1991) is a very captivating read. To put it short, it exceeds issue #20 on just about everything and the conclusion is a lot more satisfying and intriguing to read. The Fingeroth-Valentino team created an in-depth look at an alternate married life of Spider-Man as well as what would happen once the webslinger and Black Cat work together in fighting criminals while managing their personal secrets and the stress that comes with marriage. I should also state that the twists within the story are much more satisfying than in issue #20. This is truly a must-read not just for Spider-Man fans but for any superhero enthusiast!

Overall, What If #21 (1991) is highly recommended!

+++++

A Look Back at What If #17 (1990)

November 18, 2022November 15, 2022carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1993 and explore a part of Marvel Comics’ universe through the reimagined tales emphasized in the What If monthly series.

Several years ago, I bought myself a trade paperback collection of the 1987 Spider-Man storyline Kraven’s Last Hunt written by J. M. DeMatteis and drawn by Mike Zeck. That particular storyline was very notable not just for its dark approach to storytelling and visualization, but it also explores what would happen had Spider-Man been defeated and someone very obsessed took his place and go on a rampage disguised as Spider-Man. The storyline also explored how Kraven perceived Spider-Man without ever knowing the defining traits of the man behind the mask – Peter Parker. Eventually, Marvel Comic went on to revisit Kraven’s Last Hunt and explored what would happen had Kraven actually killed Spider-Man through their What If? monthly comic book series.

With those details laid down, here is a look back at What If #17, published in 1990 by Marvel Comics with a story written and drawn by Richard Howell.

Early story

The story begins with the Watcher revisiting key moments from the Kraven’s Last Hunt storyline. History then takes a turn towards the unexplored when Kraven, armed with a gun, shoots and kills Spider-Man. As the dead webslinger lies in a coffin, Kraven celebrates his victory with a lot of passion believing that he struck back at what he perceives to be the meaninglessness of the world. Kraven is quite mad as he equates spiders with Spider-Man as well as the decline of civilization.

After fearlessly and grotesquely eating spiders, Kraven wears a black body tight costume that looks almost the same as that of Spider-Man’s. While he is victorious, Kraven is not satisfied and he becomes obsessed by becoming Spider-Man and prove himself superior to him. He then moves into the city whose people are familiar with Spider-Man and also are unprepared with who is coming to them.

In an apartment, Spider-Man’s wife Mary Jane Parker is alone and worried. As she does not know that her beloved Peter Parker has been killed, she cannot help but agonize over the strain of his double-life as a civilian and as a superhero. Determined to find Peter, she walks out during the rainy night and is spotted by two men focused on her.

Suddenly the new Spider-Man (Kraven) appears and in an apparent effort to help Mary Jane, he grabs one of the men and brutally pushes the man’s head on to a nearby wall. As Kraven does not recognize Mary Jane, the wife realizes that the Spider-Man she just saw is definitely not her husband. This only makes her wonder again where he is and what happened to him. She then starts calling others for help…

Quality

In addition to being ruthless, Kraven disguised as Spider-Man resembles Venom.

I’ll start with the visuals. This comic book took a serious effort to come close to capturing the look and visual tone of the Kraven’s Last Hunt storyline which I enjoyed. Richard Howell visualized the characters, the situations and details properly and there was not a single moment when the visuals overwhelmed the narrative. Howell’s artistic take on the characters is simplistic but they remain recognizable which is a plus. The superhero spectacle was presented with a clear and clean approach, and there were a few key moments of action that got highlighted with some dynamism.

As for the story itself, what I found surprising and also pleasant here was the presentation of Mary Jane Parker as the main character instead of Kraven. This makes sense as Kraven himself was the major attraction of the Kraven’s Last Hunt storyline while Spider-Man was out of commission. In the context of this What If story, it only made sense to have Mary Jane as the central figure. Going back to Kraven, Howell captured the essence of the character well when compared to his version in Kraven’s Last Hunt.

In terms of plotting, telling the story through the viewpoint and actions of the superhero’s concerned wife really works well. Without spoiling the plot, you will see Mary Jane get involved with three notable superheroes – including the iconic Captain America – and even with other notable Spider-Man supporting characters such as Flash Thompson and the irresponsible print media figure J. Jonah Jameson. Interactions aside, the plot works sufficiently as a couple of series of events take place before the big confrontation with Kraven (as the new Spider-Man). By the end of it all, I can say that the story is entertaining, engaging and intriguing to read.

Conclusion

*Mary Jane Parker goes out in pursuit of her husband Peter Parker/Spider-Man who happens to be dead already at this particular point of the story.*

I can say that What If #17 (1990) is pretty captivating read and it is a worthy literary companion to Kraven’s Last Hunt. Of course, to really enjoy this alternative tale cleverly told by Howell, you must read Kraven’s Last Hunt first. Otherwise, you would not feel the impact of this comic book very much. I also liked how the death of Spider-Man (note: Spider-Man got killed in another What If tale that itself is worth reading) impacts Mary Jane, how it impacts the superheroes who know him, and most notably how it impacts the fragile relationship between society and superheroes. Lastly, this comic book has one of the more significant portrayals of Spider-Man’s most beloved woman. This is indeed a great story.

Overall, What If #17 (1990) is highly recommended!

+++++

A Look Back At Superman and Spider-Man

August 31, 2019May 1, 2025carlocarrasco

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.

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.

*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.

*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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