15 Ways The 1980s Were The Greatest Spider-Man Decade

You know those internet lists that provide 10-15 justifications for a lofty premise?  I wrote one of those.

WEB OF SPIDER-MAN #70 - November 1990

A Hulk by Any Other Name…

Credits: Gerry Conway (plot), David Michelinie (script), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: A disoriented Spider-Man recovers the energy-transference device and returns to New York. He places the device in a bus station locker, and later tries to make amends with Betty. Spider-Man continues to grow sicker, until he transforms into the Spider-Hulk. When he eventually returns to his normal form, he realizes the device transferred energy from the Hulk into him. Spider-Man returns for the device, only to discover it’s been stolen. He finds the thieves and inadvertently changes into Spider-Hulk again. One of the thieves uses the device on Spider-Hulk and transforms him back to normal, although the device is destroyed during the scuffle.

The Subplots: None.

Web of Continuity: The name of the scientist in the previous issue is given as Armand Jones.

Review: No, we’re not ready for Spider-Hulk. I don’t think anyone even wants Spider-Hulk. Conway never shied away from ridiculous ideas during this era (the Living Brain…Phreak-Out…Banjo, the Appalachian mutant…), but those stories were usually propped up with ongoing subplots that could keep the readers’ interest piqued for the next issue. As long as Spider-Man acts like Spider-Man and the ongoing plotlines are advanced, I can live with a goofy villain. I could even live with Spider-Hulk for an issue, if it the supporting cast still had something to do and the overall momentum wasn’t lost. This issue, however, is a rushed conclusion to a silly idea with barely any other ideas to distract from the ridiculousness. If you don’t like Spider-Hulk, too bad, because that’s all you’re getting. Unfortunately, this marks the end of Conway’s second tenure on Spider-Man. Not only is he unable to script the final issue (due to his television writing commitments), but everyone assumed he would be coming back in a few issues, so there isn’t even a goodbye message. There isn’t even a letters page, just a house ad for the Star Mighty Mouse series. If Web ever had anything approaching a golden age, it would have to be the Conway/Saviuk run. And although Saviuk remains loyal to the book for years to come, the title still endures a stretch of filler before a new writer is finally named.

WEB OF SPIDER-MAN #69 - October 1990

A Subtle Shade of Green

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Renee Witterstaetter, Paul Becton, & Heidi Goodhue (colorist)

The Plot: A mysterious scientist builds an energy-transference device, while Peter Parker and Betty Brant investigate a monster sighting in New England. The monster is actually the Hulk, who is traveling with his wife Betty Banner. The scientist detects Hulk’s energy and tries to absorb it while he rests as Bruce Banner. Banner transforms and swats the scientist, accidentally killing him. Spider-Man arrives and briefly fights the Hulk. Hulk leaves him for dead and escapes with his wife.

The Subplots: Robbie Robertson asks Peter to forgive him after his recent behavior. Kristy Watson is released from the Eating Disorder Unit, and accepts a job as the Osborns’ live-in nanny.

Web of Continuity: This is Betty Brant’s first job as a reporter, and she isn’t thrilled with Peter abandoning her when he spots the Banners’ jeep turning into the forest. Mary Jane ponders why she’s so attracted to fellow actor Jason Jerome, a reference to a subplot running in Spectacular Spider-Man.

*See _________ For Details: The scientist is supposed to be the brother of the one who died in Fantastic Four #51 (“This Man…This Monster!”). The footnote incorrectly lists the issue number as #53.

Production Note: Bob Sharen is incorrectly credited as colorist. Issue #71 lists the colorists as Renee Witterstaetter, Paul Becton, and Heidi Goodhue (perhaps that last name is pseudonym).

Review: Gerry Conway’s final arc begins, and it’s far from a classic. In fairness to Conway, he originally planned on taking a few issues off after #70 and then returning, so he didn’t know he was going out on “Spider-Hulk.” This issue sets up Spider-Man’s eventual transformation, while a few supporting cast members are given a little attention. Robbie formally apologizes to Peter, as Kristy finally checks out of the EDU and is given a job as the Osborn’s au pair. This is possibly the last time Kristy was given more than three lines of dialogue in a mainstream continuity book (although Tom DeFalco did resurrect her in Spider-Girl, which seems fitting for that title). When the extended Harry Osborn arc begins next year in Spectacular, I don’t think Kristy even makes an appearance, nor do I recall her ever getting any type of a send-off. Much like the unwanted siblings on Happy Days, Family Matters, and That ‘70s Show, she just disappeared.

Speaking of garbled continuity, can anyone explain the Hulk’s appearance in this issue? He’s back to green and dumb status, even though he appeared just a few months earlier as Joe Fixit in Amazing Spider-Man. I was always under the impression that Peter David never reverted Banner to the dumb, green persona during his Incredible Hulk run. There aren’t any footnotes indicating when this change might’ve occurred, so it’s hard to know if this is supposed to tie in to a specific Incredible Hulk storyline. Also, I thought Marvel had a policy that the Hulk never killed anyone during his rampages. Yet when he accidentally kills the scientist in this issue, the incident isn’t treated as a particularly big deal. Could this be the Hulk’s first on-panel kill?

WEB OF SPIDER-MAN #68 - September 1990

Tombstone Territory

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Tombstone summons Robbie Robertson for a meeting, and Spider-Man follows. Inside Tombstone’s hideout, Robbie discovers a badly beaten Hammerhead. To Robbie’s surprise, Tombstone thanks him for his new powers and declares a truce. Spider-Man leaps in to apprehend Tombstone, as Hammerhead breaks free of his restraints in the confusion. He guns down Tombstone and accidentally destroys the armory. When the smoke clears, Tombstone is gone.

The Subplots: Nick Katzenberg follows Robbie Robertson throughout the ordeal, but his ransom photos are ruined when his camera is damaged in the explosion.

Review: The long-running Robbie Robertson/Tombstone arc, perhaps the most notable aspect of Gerry Conway’s return to Spider-Man, concludes with this issue. Again, it’s a little odd to see the final installments show up in Web instead of Spectacular, but we are provided with over two pages of recaps to bring everyone up to speed. Tombstone, an albino school bully turned professional hitman, is one of Conway’s greatest creations, and his interactions with Robbie Robertson are some of the highlights of this era of Spider-Man. As hard as it might be for Robbie to believe, Tombstone honestly likes him, which is why he merely broke his back instead of actually killing him. Conway seems to be riffing on the belief (and I have no idea how much research has really gone into this) that bullies actually have some amount of affection for their targets. Tombstone tortured Robbie in high school, and from a distance intimidated him well into adulthood, but that doesn’t mean he has genuine antipathy towards him. In Tombstone’s warped mind, his relationship with Robbie is probably the closest he’s ever come to a friendship.

Now that Robbie’s responsible for inadvertently giving Tombstone super-strength and invulnerability, Tombstone extends his hand for a handshake and declares all debts are paid. Sure, he’s terrorized Robbie for decades, and Robbie has tried to kill him on two separate occasions by now, but Tombstone wants Robbie to know everything’s okay between them. I imagine that Tombstone has been granted super powers in order to make him a more credible Spider-Man foe (Conway always had to dance around Tombstone’s mere “peak human strength” in his previous fights with the hero), but Conway is still using the opportunity to tell a story about the characters. On the final page, Robbie reflects on Tombstone’s twisted view of friendship and realizes, with a little prodding from Spider-Man, that he’s been too hard on Peter. After around twenty issues, Robbie Robertson’s long arc is concluded. He’s faced his fears, realized the true value of friendship, and is starting to forgive himself for an old mistake. Gerry Conway leaves the books a few issues after this, and Robbie predictably returns to the background, but I think anyone who read this storyline was made fully aware of just how much potential is hidden within the character.

WEB OF SPIDER-MAN #67 - August 1990

With Friends like These!

Credits: Gerry Conway (plot), Ben Trovato (script), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Spider-Man follows Harry Osborn and tries to talk him out of reassuming the Green Goblin identity. Harry refuses to listen, maintaining that he’s restoring the Osborn legacy by acting as a hero. Later, Spider-Man tracks Harry to his secret headquarters and initiates a fight, hoping to teach him a lesson about the dangers of costumed crimefighting. Harry relents, and discreetly thanks “Peter” as Spider-Man swings away.

The Subplots: Tombstone emerges from the chamber with enhanced strength and invulnerability. He travels to Hammerhead’s home and declares that he’s the new crimeboss.

Web of Continuity: Tombstone no longer speaks with this trademark whisper, which is supposed to be a sign that the experimental gas has even strengthened his voice. This idea is quickly ignored (it was never established if Tombstone chooses to speak with a whisper or has weak vocal chords, anyway), as the whisper returns next issue.

Production Note: Some people have speculated that “Ben Trovato” is a pen name for John Byrne, but I’ve never heard any confirmation, nor do I know how the rumor started. Ben Trovato is actually an Italian term, so this is presumably someone's pen name.

Review: It’s funny how you can perceive ongoing continuity as a kid. I missed this issue when it was released, but I did read #66 and #68. Based simply on those comics, I assumed that Harry Osborn had revived the Green Goblin persona as a hero and that this was his new status quo. As far as I knew, Green Goblin would be teaming up with Spider-Man on a regular basis, and perhaps Spidey would be showing Harry the ropes while he adjusted to crimefighting. I also thought Harry suddenly remembering Spider-Man’s secret ID was a quickie plot convenience from a later issue of Spectacular Spider-Man. Oops. As it turns out, that missing issue in my collection swiftly put an end to Harry’s hero career, and it’s also the end of Harry’s very long, and very convenient, bout of amnesia.

I’m probably in the minority, but I’ve always liked the idea of Harry as a slightly inept superhero. He already has the Green Goblin technology, so perhaps a part of him feels the same obligation to put it to good use that motivates heroes like Iron Man. Plus, he’s always felt a need to redeem his father’s name. Why shouldn’t he make amends by retaking the identity and using it for good? Making him a villain again is too obvious a move, and since Harry doesn’t have any inherently villainous traits, he usually doesn’t even come across as that great of a threat. Of course, it was only a matter of time before Marvel turned Harry villainous again, with a cover that even mocked the idea of him ever going straight. I’m certainly not saying the DeMatteis/Buscema Spectacular Spider-Man arc was poorly done, I’ve just never seen the overall benefit of turning Harry bad again and then killing him off.

Speaking of obvious, this issue has Spider-Man picking a fight with the Green Goblin under the questionable motive of “teaching him a lesson.” You would think that perhaps Spider-Man would realize at some point he’s acting like a jerk (and a hypocrite, since he has a family as well, but he’s scolding Harry for not thinking about his), but that moment never comes. It’s a fight for a fight’s sake that eats up a few pages while the Tombstone storyline continues in the background. I understand Spider-Man has to confront Harry over his decision, and I don’t even mind his refusal to support Harry, but the execution is a disappointment.

WEB OF SPIDER-MAN #66 - July 1990

Friends and Enemies

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams & Mike Manley (inks), Rick Parker & Jack Morelli (letters), Marc McLaurin & Bob Sharen (colors)

The Plot: Molten Man contacts Spider-Man, informing him that Tombstone wants his help robbing the Osborn Chemical Company of a new chemical, Diox-3. They arrange an ambush and confront Tombstone’s men that night. Unexpectedly, they’re joined by the Green Goblin. Meanwhile, Robbie Robertson has been tipped off to the robbery, only to learn it’s a setup from Tombstone. Robbie defends himself by shooting Tombstone, who falls into a pressure capsule with the Diox-3 gas.

The Subplots: Robbie refuses to forgive Peter for staging the Spider-Man shoot. Liz Osborn is incensed when Mary Jane reveals she saw a Green Goblin costume in Harry’s closet (which is now gone).

Web of Continuity: Betty Brant is now Jonah’s executive secretary at the Jameson News Digest. Presumably, Glory Grant is still working for the Daily Bugle, although she seems to disappear from the books at around this time.

Review: Gerry Conway wrote a lot of comics with Tombstone during this era, but almost all of them were in Spectacular Spider-Man. For unknown reasons, Web is given this Tombstone arc, while Spectacular runs a storyline that has Spider-Man traveling to England and encountering the villainous duo, Knight and Fogg. The ongoing saga of Robbie Robertson’s imprisonment and return to society was also covered mostly in Spectacular, so it’s a little odd to see this plot shifted over to Web, as well. Regardless, I love the early Tombstone appearances and the Robbie Robertson storyline that went along with them, so I’m not complaining.

Robbie’s already gone through the arc of facing his fear, paying a price for his actions, and confronting his lifelong tormentor. Most writers would stop there, but Conway now delves into the question of how a man goes forward after these experiences. After a stint in prison, Robbie can’t adjust to the real world overnight. He had to become hard to survive, but the rules that kept him alive in prison are now driving away the people he cares for. He also sees himself in Peter, and just as he never forgave himself for covering up a story for Tombstone, he can’t let Peter off the hook when he commits his own breach of journalistic ethics. Peter thinks he’s become an unfair test case for Robbie’s “new morality” and refuses to roll over for him. Did any writer ever put this much thought into Peter and Robbie’s relationship? How often was Robbie even given something to do, after being introduced as a Sidney Pointier analogue in the late ‘60s? Conway makes the dramas of the supporting cast just as important as the main superhero action, which is a major reason why I’m convinced he’s responsible for Web’s strongest run of issues.

WEB OF SPIDER-MAN #65 - June 1990

The Last Act of Vengeance

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Spider-Man attaches his webline to an airplane, riding it back to land. Meanwhile, the villains return to Chameleon’s headquarters to collect their bounty, only to discover him missing. Trapster finds a note, planted by Chameleon, which implicates Kingpin in his scheme to rip them off. The villains travel to Kingpin’s headquarters for retribution. Spider-Man follows, and knocks out Graviton while he’s distracted by Kingpin. One by one, Spider-Man defeats the remaining villains. The Chameleon is thrilled, believing that Spider-Man’s interference has made Kingpin appear weak in the eyes of the Maggia.

The Subplots: Following Graviton’s upheaval, the Daily Bugle building is declared condemned. While babysitting Normie Osborn, MJ discovers a Green Goblin costume hidden in his father’s closet.

We Get Letters: A letter writer commends Marvel for avoiding profanity in its comics, unlike DC. The editorial response is “you can rest assured that the regular Marvel and Star Comics will always be free of curse words.”

Review: More fight scenes and not a lot of plot development, but that’s forgivable given the number of villains Spider-Man’s dealing with this issue. Allowing Spider-Man to defeat so many foes in such a short amount of time is a copout, but it’s obvious that Conway has put some thought into the execution and wants to give the conclusion some credibility. The most powerful villain, Graviton, is KO’ed while he’s distracted, which makes the fight exponentially easier for Spider-Man. Trapster and the Brothers Grimm aren’t much of a threat, and Goliath is defeated by his own weight when Spider-Man uses his webline to trip him. That leaves Titania, who’s taken out when a bus runs into her. If Titania’s strong enough to face She-Hulk, I think it’s really the bus driver who would come out the worst in that situation. Considering the difficulty she caused “Cosmic Powers” Spidey just a few issues earlier, it’s a letdown to see her so casually dismissed. Still, this is an entertaining two-parter with a good hook, and the subplots introduced are intriguing enough to keep interest up for the next storyline.

WEB OF SPIDER-MAN #64 - May 1990

Once More with Feeling

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: The Chameleon hires Graviton, Titania, the Brothers Grimm, Trapster, and Goliath to kill Spider-Man. Graviton draws Spider-Man out by levitating the Daily Bugle building, but Spider-Man narrowly avoids defeat by turning his opponents’ powers against one another. Graviton responds by using his powers to send Spider-Man a thousand feet into the sky.

The Subplots: When Nick Katzenberg informs Jonah Jameson and Robbie Robertson that Peter Parker faked a Spider-Man photo shoot, Robbie refuses to work with Peter again. When Peter later slams Katzenberg against a wall, Katzenberg declares their feud is now personal.

Web of Continuity: Jonah and Robbie are now working at their new venture, J. Jonah Jameson Publications, Inc. following Jonah’s forced departure from the Bugle.

*See _________ For Details: Graviton previously lifted the Daily Bugle into the sky in Amazing Spider-Man #326.

I Love the ‘90s: A Daily Bugle ad declares Spider-Man “A ‘90s Kind of Hero.”

Miscellaneous Note: The Statement of Ownership has average yearly sales at 199,360 copies, with the most recent issue selling 207,300.

Review: The gimmick behind the Spidey chapters of the “Acts of Vengeance” crossover was that Spider-Man had an assortment of new powers to deal with, just as a new group of villains targeted him as a part of the “trade a hero” scheme. Now that Spidey’s lost the powers, Conway goes the rather obvious route and forces the hero to fight the same villains again. It’s a strong challenge that does strain credibility a bit, but no further than any Sinister Six story does, really. Also, Magneto (who appeared in one of the Amazing Spider-Man “Acts” issues) isn’t involved with this revenge scheme, so Spider-Man’s chances aren’t totally null. The cliffhanger is fun, and I’m glad Robbie Robertson’s storyline isn’t over yet.

WEB OF SPIDER-MAN #63 - April 1990

Clouds from a Distant Storm

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: At a cemetery, Mr. Fear overhears Betty Brant blaming Spider-Man for the deaths of her brother and husband. He uses his fear gas to manipulate Betty into contacting Peter, who she knows will send Spider-Man after her. Soon, Mr. Fear ambushes Spider-Man. Under Mr. Fear’s influence, Betty points a gun at Spider-Man, but Spider-Man encourages her to face her fears. She instead turns it on Mr. Fear, forcing him to fall in the nearby river.

The Subplots: Peter and MJ stage a Spider-Man public service announcement for the Daily Bugle in their home. Nick Katzenberg is spying from the skylight, taking photos of Spider-Man unmasking as Peter.

*See _________ For Details: Mr. Fear wants revenge on Spider-Man following his defeat in Marvel Team-Up #92.

I Love the (Early) ‘90s: Nick Katzenberg comments that he spent years avoiding Sean Penn’s fists, a reference to the actor’s reputation for punching the paparazzi while married to Madonna.

We Get Letters: A letter writer defends Skinheads following the neo-Nazi storyline, stating that white supremacists only account for fifteen percent of Skinheads.

Review: A future letter column has a few complaints about this cover, saying it unfairly implies that Venom and/or the Punisher would be guest-starring. That might be valid, but I still think this is a great cover. Gerry Conway is an avowed fan of the earliest Amazing Spider-Man issues, and I believe he was the first writer to revive Betty during his original run on ASM (unless I’m misremembering, Gwen Stacy debuted after he quit reading the book and he wondered why Peter was with this girl instead of Betty). A year earlier he did an excellent issue of Spectacular Spider-Man that detailed Flash and Betty’s experiences during “Inferno,” so I’m not surprised to see Betty show up in Web also.

The story continues a theme that appears often during Conway’s run, overcoming your own self-doubts and finding the courage to face your fears. Using Mr. Fear is a bit “on the nose,” but it would almost be a disservice to use this character and not tie him into that theme. The brief sequence that has Spider-Man facing his own hallucinogenic fears doesn’t exactly work, but Conway’s portrayal of Betty is commendable, and I like his interpretation of Mr. Fear. Mr. Fear II has inherited the role from his uncle; he considers himself a businessman and doesn’t know the first thing about villainy. He’s had to hire someone who actually understands chemistry to develop his fear gases, and he’s not sure if he’s even used them right. As he dangles from a ledge, facing defeat, he wonders if there are classes he can take to improve his villain skills.

Meanwhile, the subplot pages bring us the biggest goof from Conway’s second stint on Spidey. As numerous letters will vocally protest, there’s no way Nick Katzenberg would’ve been able to take a photo of Spider-Man removing his mask. As detailed in countless comics, including one of the “Spidey’s Spectacular Powers!” annual back-ups that ran not long before this comic was published, Peter’s spider-sense would’ve warned him of Katzenberg’s presence. It’s a giant mistake, but the editorial team at least acknowledges it in the letter column. The only No-Prize explanation that could be offered is that Peter’s identity is still maintained when the affair is over, so his spider-sense instinctively knew that everything would turn out okay. And, yes, that is lame.

WEB OF SPIDER-MAN Annual #6 - July 1990

Up From Slavery

Credits: Gerry Conway (plot), Stan Lee (script), Gil Kane (penciler), Sal Buscema, Mike Eposito, & Alan Kupperberg (inks), Rick Parker (letterer), Nel Yomtov, Evelyn Stein, & Bob Sharen (colors)

The Plot: Spider-Man finds himself a captive of Psycho-Man, who mistakenly believes he still possesses the Uni-Power. With the aid of Psycho-Man’s fellow captives, Spider-Man escapes and battles Psycho-Man in the heart of the Microverse. When Spider-Man destroys Psycho-Man’s size-control device, he shrinks into apparent nothingness. Spider-Man’s newfound friends restore him to his proper size, and the hero returns home to MJ.

The Subplots: None.

Web of Continuity: Following two line-wide crossovers in the annuals, Marvel decided to do smaller crossovers, consisting of only three chapters each. This is the final installment of “Spidey’s Totally Tiny Adventure,” which ran through all of the 1990 Spider-Man annuals.

Review: Okay, it’s time for “Spidey’s Totally Tiny Adventure,” which I’m sure wasn’t influenced by Honey, I Shrunk the Kids at all. Apparently, editor Jim Salicrup wanted to reunite as many of the classic Spidey creative teams as possible during his stint, but many of the creators weren’t fully available. Consequently, we get an annual crossover plotted by regular writer Gerry Conway, scripted by Stan Lee, penciled by Gil Kane (who most likely only provided breakdowns), and inked by various creators. The inconsistent inking doesn’t do the book any favors, since this isn’t quite the Gil Kane Spidey you remember from those Marvel Tales reprints. (I couldn’t believe this was the same guy who drew the “Death of Captain Stacy” arc as a kid; probably because I didn’t notice John Romita inked those original issues.) Spider-Man looks great in a few panels, but the design of his costume, and sometimes his entire body type, seems to fluctuate from panel to panel. The story is obviously silly, and since Stan Lee apparently stopped scripting in a consciously “serious” style around 1970, he’s an appropriate choice for the storyline. Most of the jokes aren’t too corny, and the story keeps going at a steady pace. All of this is noticeably rushed, but it’s still entertaining.

Salesday for a Shootout

Credits: Gerry Conway (writer), Ross Andru (penciler), Mike Eposito (inks), Rick Parker (letterer), Bob Sharen (colors)

The Plot: MJ and Aunt May’s trip to the mall is interrupted by anti-capitalist terrorists. The Punisher arrives to stop them, but the terrorists use MJ and Aunt May as a shield. May fakes a heart attack, giving the Punisher an opportunity to finish the terrorists.

Review: A Punisher/Aunt May team-up story, brought to you by the creative team who wrote and drew the Punisher’s first appearance in Amazing Spider-Man #129. Is “classic” too strong a word? I’m sure Punisher’s diehard fans hated seeing him in stories like this, but I usually enjoyed his occasional interactions with the rest of the Marvel Universe as a kid. Acknowledging the sheer gimmickry of the story, Conway tries to make it as plausible as possible and doesn’t play it as outright comedy. The most unrealistic aspect of the story is just how calm Aunt May remains throughout the whole ordeal. You would think going through this would scar her for the rest of her short life, but she remains especially cool and even delivers a composed recap of the events to the media after the Punisher escapes.

Eleven Angry Men…And One Angry Woman

Credits: Peter David (writer), June Brigman (penciler), Stan Drake (inks), Rick Parker (letterer), Bob Sharen (colors)

The Plot: MJ is the only juror willing to convict a burglar caught by Spider-Man. After she refuses to budge, the jury is declared deadlocked. The defendant is confident he’ll survive a new trial, until he sees Spider-Man (on his way to pick up MJ) swing by the window. He accepts a plea bargain and is sent to jail.

Review: This is an homage to Twelve Angry Men, based around the premise that Spider-Man’s habit of leaving criminals webbed up in public isn’t actually enough evidence to convict them. The combination of a weary judge and inexperienced defense attorney leaves Mary Jane on the jury, and she of course refuses to believe the burglar’s claim that Spider-Man was the real culprit. Peter David spends most of the story on the interactions between the frustrated jurors and MJ, and gets a decent amount of comedy out of the idea. It’s a strong premise for a story, and David is pithy enough to get the point across within a few pages.

Child Star

Credits: Tony Isabella (writer), Steve Ditko (artist), Rick Parker (letterer), Bob Sharen (colors)

The Plot: A suburban stockbroker couple summons demons to help them play the market. The demons soon escape and cause havoc in the neighborhood. The Uni-Power allows two-year-old Eddie to become Captain Universe. The baby Captain banishes the demons in a flash of light.

Review: Gil Kane, Ross Andru, and Steve Ditko in the same Spider-Man comic. Of course, they’re not all drawing Spider-Man, but let’s not be greedy. This is a comedy story by Tony Isabella, who did a few jobs for the Spider-office during this era. It is honestly funny, and uses the Captain Universe concept quite well. I do have to wonder about the “demons” Ditko’s designed for the story, though, as they look more like friendly Muppets.

WEB OF SPIDER-MAN #62 - March 1990

All That Glitters…

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Peter Parker learns that Mark Raxton, the Molten Man, is extorting $10,000 from his stepsister, Liz Osborn. Fearful of Harry’s reaction, Peter offers to speak to Raxton while MJ, Kristy, and Liz keep Harry busy. As Spider-Man, Peter faces Raxton in the Osborn’s apartment. When he realizes Raxton is actually innocent, he returns as Peter Parker and takes him to meet the Osborns. Learning that Raxton only wanted a loan, Harry offers him a job at his factory.

The Subplots: Spider-Man is uncomfortable with the Daily Bugle’s new pro-Spidey bias, although he is selling more photos than usual. Later, Peter locks a city inspector named Edna Gortch in the closet when he senses Molten Man is approaching. He forgets to let her out when the fight is over.

I Love the (Early) ‘90s: When Kristy laughs at MJ’s old modeling photos, MJ warns that she’ll blush when she sees photos from her “junior league Paula Abdul” phase.

Review: And now we’ve reached Molten Man’s reformation, perhaps the only reformation from Gerry Conway’s run that stuck around for a while. As I’ve mentioned before, Conway is quite skilled at creating sympathetic characterizations, so Molten Man actually does come across as a genuinely repentant guy who’s easy to root for. He’s still pretty vicious in the fight scene, though, as the barely reformed villain gets “carried away” and has a blast locking Spider-Man inside a refrigerator and dropping an elevator on him repeatedly. The rest of the issue focuses on Spider-Man’s new role as “New York’s Favorite Superhero,” which is an amusing change of pace. Spidey doesn’t feel comfortable signing autographs, and all of the newfound adulation just makes him paranoid that the other shoe is about to drop. This storyline doesn’t lead to much of a conclusion, perhaps because it’s only resolved as Conway writes his closing issues and dutifully puts the status quo back in place, but I always liked Spider-Man’s discomfort with any form of praise. This issue’s opening sequence, which has Spider-Man searching the sewers for a mysterious “Wendy,” was also one of my favorite scenes as a kid.

WEB OF SPIDER-MAN #61 - February 1990

Dragon in the Dark

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Overwhelmed with his new powers, Spider-Man throws his mask from the top of a skyscraper and declares that he’s quit. The Wizard catches the mask, and uses Dragon Man to trace the scent. Dragon Man tracks Peter Parker to the subway, where the hero is forced to fight back until the android’s flame gives out. The crowd cheers the triumphant Spider-Man, who is temporarily inspired to keep going.

The Subplots: Dr. Doom is trying to siphon Spider-Man’s cosmic energy, but he’s sabotaged by Loki. MJ visits Kristy in the Eating Disorder Unit and talks about her parents. A mystery man is calling Liz Osborn, telling her he wants to come home.

Web of Continuity: The cosmic powers story is finally resolved in Amazing Spider-Man, where it’s revealed that the Uni-Force endowed Spider-Man with cosmic powers, but the experiment at ESU temporarily prevented him from fully adopting the Captain Universe identity.

*See _________ For Details: Dr. Doom siphoned a portion of Spider-Man’s power in Spectacular #160 with his Tess-One robot.

Review: The event has entered its final month, and Peter Parker has reached the point where he’s given up his life as Spider-Man. Of course, this happens every three weeks, but the creators have certainly taken an unusual path to get there. The basic plots of most of the “Acts of Vengeance” crossovers are fairly redundant, but Conway’s attention to characterization and the continued use of the supporting cast enable the title to retain its identity. Peter’s frustration with his new powers is effectively conveyed, and it’s nice to see small moments like Liz asking Peter to babysit, and MJ joining Kristy for dinner at the EDU. The fight scene with Dragon Man is also fun, and I’ve always liked the new cosmic power Peter develops this issue -- the ability to generate new costumes out of stray molecules. Three issues is enough of the gimmicky storyline, though, and I’m glad things are back to normal next issue.

WEB OF SPIDER-MAN #60 - January 1990

The Harder They Fall

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Dr. Doom equips Goliath with a mechanism that forces him to absorb the cosmic energy Spider-Man radiates. During their fight in Battery Park, Goliath is forced to painfully grow larger and larger as Spider-Man uses his new powers against him. Spider-Man notices the connection, but has to use his powers again when Goliath attacks a nearby ferry. Overcome with energy, Goliath falls into the water and doesn’t emerge.

The Subplots: Peter seeks guidance from Aunt May, who’s dealing with Nathan’s terminal diagnosis. Thomas Fireheart refuses to buy pictures from Nick Katzenberg that show Spider-Man in a bad light. When Spider-Man swings by Fireheart’s office to express his aversion to the Daily Bugle’s new direction, Glory Grant walks in. Overwhelmed at the sight of Spider-Man, she runs away.

Web of Continuity: An image of Captain Universe is super-imposed over Spider-Man when he strains to use his powers and snatch the ferry away from Goliath. You could say this is too obvious a hint, but I had no idea who Captain Universe was or what he looked like when these issues were released.

*See _________ For Details: Spider-Man first fought this version of Goliath in Spectacular #49, when he was known as the Smuggler.

Creative Differences: A re-lettered word balloon on page 9 has Peter reiterating that Nathan only has a few weeks left.

Review: Spider-Man still has cosmic powers, he still doesn’t like them, and Acts of Vengeance continues. Now, Peter turns to Aunt May for advice on how to deal with his powers, phrasing the question as “What would you do if you had the power of life and death?” Alex Saviuk gives Aunt May a reaction shot that would only seem appropriate if Peter abruptly flashed her, but the rest of the scene is executed quite well. Aunt May takes the surprising stance that this power would in essence be a burden, since no human should be forced to decide which lives ought to be saved. She gives a monologue on the cycle of life and accepting death, tying the “hypothetical” dilemma Peter’s brought to her with Nathan’s terminal illness. “Acceptance…is the only power of life and death a human being ever needs.” Regardless of the crossover event and gimmicky alteration to the status quo, Conway still remembers this title is about the characters, which is why his run always stuck with me. If Conway had actually brought some resolution to Glory Grant’s subplot, instead of this issue’s four-panel tease, this would be almost perfect.

WEB OF SPIDER-MAN #59 - December 1989

With Great Power

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Following an experiment at ESU, Spider-Man finds himself with greatly enhanced powers. Elsewhere, Dr. Doom places a micro-sensor on Titania, and orders her to take care of Spider-Man. She storms into the Daily Bugle offices, demanding Spider-Man show up to fight. During the battle, her micro-sensor breaks, which allows her natural fear of Spider-Man to resurface. Spider-Man accidentally inspires her to continue the fight, which forces him to unleash an energy beam that knocks her unconscious.

The Subplots: Thomas Fireheart has called a meeting of Bugle staffers to explain the newspapers new pro-Spider-Man direction. When discussing the move in private with Kate Cushing, he has to knock her unconscious so that he can transform into Puma and defend the staff from Titania. Nick Katzenberg, meanwhile, has developed a crush on Cynthia Bernhammer, Robbie Robertson’s lawyer.

Web of Continuity: The Marvel event “Acts of Vengeance,” which has supervillains swapping foes with other villains, has begun. This is why Dr. Doom is finding opponents for Spider-Man, while other villains are taking on the Fantastic Four.

*See _________ For Details: The ESU experiment that Peter believes granted him new powers occurred in Spectacular Spider-Man #158. Dr. Doom references Titania’s recent loss to She-Hulk, which occurred in Solo Avengers #14 (in a cute back-up story by Chris Claremont and Alan Davis). Titania has an irrational fear of Spider-Man, following their battle in Secret Wars #7.

Review: “Cosmic Powers Spider-Man” has begun. I fully recognize this is the gimmickiest premise on earth, but I loved this story arc as a kid and won’t abide any trash-talk. I have no idea what the impetus for this story was; it’s possible the Spider-office already had this arc mapped out when “Acts of Vengeance” was imposed on the line, or perhaps this storyline was specifically designed to coincide with “Acts.” If Spider-Man is being forced into fights with various villains throughout the Marvel Universe, maybe someone thought he needed a power-up to make his way through the event. Then again, do you really need cosmic powers to take out Goliath or the Brothers Grimm?

The appeal of the storyline really comes from Peter’s reaction to his new powers -- he hates them. Flying nauseates him, punching someone is now potentially lethal, and his spider-sense is so powerful it gives him migraines. The fans might get a kick out of seeing Spider-Man develop a new power set, but it’s sheer misery for the character. The structure of the story is also worth noting, as every chapter is self-contained, yet obviously you get a fuller idea of what’s going on if you buy all of the books. I only purchased half of this story arc as a kid (completely missing all of the Spectacular segments, even though the story started in that title), but was still able to follow the events without feeling left out. Limiting the arc to only three months was also a smart move, since there’s no way the gimmick could’ve worked for much longer, and this is really all the time you need to explore Peter’s reaction to the new powers.

WEB OF SPIDER-MAN Annual #5 - October 1989

Warzone: New York

Credits: Gerry Conway (writer), Javier Saltares (penciler), Randy Emberlin (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Spider-Man and the Fantastic Four team up to fight the Atlantean invasion of New York. During the battle, the Deviants’ leader Ghuar kidnaps the Invisible Woman. As the Atlantean army gains ground, Atlantis is bombed by its former ally, the Lemurians. When Attuma receives the news, he ceases fire. The shocked Atlanteans are placed into custody, as Mr. Fantastic vows to find his wife.

The Subplots: None.

Web of Continuity: This is a chapter of the “Atlantis Attacks” crossover, which ran through the 1989 Marvel annuals. The Fantastic Four of this era actually consists of five members, as Sharon Ventura joins the team as a female Thing.

*See _________ For Details: This story is continued in West Coast Avengers Annual #4.

I Love the ‘80s: Spider-Man says he’d give up his Pee Wee Herman doll to see Mr. Fantastic turn violent.

Review: Following a team-up with She-Hulk against the Abomination in the Amazing annual, and a team-up with Cloak and Dagger that stopped one of Ghuar’s schemes in the Spectacular annual, Spider-Man makes another starring appearance in the “Atlantis Attacks” crossover. This is one of the consequences of doing a crossover that involves virtually every title in the line; not only do you have to find a story that can comfortably fit the Silver Surfer, Punisher, Thor, and the X-Men, but popular franchise characters like Spider-Man end up with a disproportionate number of appearances during the storyline. This year’s Amazing annual was just lighthearted action (featuring early art by Rob Liefeld, who got the job on Todd McFarlane’s recommendation), while the Spectacular annual had Spidey teaming up with Cloak and Dagger to stop an alleged rehab clinic that was turning patients into snake-people. Plus, Gerry Conway penned the “Atlantis Attacks” Daredevil annual, which guest starred Spider-Man and featured more victims of the phony rehab clinics.

Now, Spider-Man shows up yet again to stop the Atlantic invasion; this time teaming up with the late ‘80s, improperly named, incarnation of the Fantastic Four. The invasion turns out to be a dud, as the Atlanteans are distracted by the annihilation of Atlantis, which presumably sets up a future event in the crossover. The Invisible Woman is also kidnapped as a potential Bride of Set, which is followed up in the Avengers and West Coast Avengers annuals (Jean Grey is also kidnapped as a would-be bride in the 1989 X-Factor annual, which features a John Byrne lead story inked by Walt Simonson). And, yes, none of this has anything to do with Spider-Man. Conway still gives Spidey a firm personality and allows him to perform a few heroic deeds, but the crossover is so deep into its storyline by now that Spider-Man barely has a role to play. I imagine Conway knew the extended fight scene could get dull, so it’s broken up with constant bickering between two sparring newscasters. The reporter in the field is risking her life to document the invasion of Manhattan, while the idiotic anchor is obsessed with trivial facts and celebrity gossip. These exchanges are actually the highlight of the story, which is unfortunately the weakest Spidey chapter of “Atlantis Attacks.”

A Random Miracle

Credits: Gerry Conway (writer), Steve Ditko (penciler), Al Milgrom (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: ESU professor Evan Swann is endowed with the powers of Captain Universe, which he uses to fight the Quantum Mechanic. After the Mechanic disappears in a flash of light, the Unipower leaves Dr. Swann.

Web of Continuity: The Unipower bestows the cosmic powers of Captain Universe to people in the right place and the right time. After the specific disaster is averted, the power leaves its host.

*See _________ For Details: After gaining the power, Dr. Swann instantly remembers Captain Universe’s previous appearances in Micronauts #8 & #35, Marvel Spotlight#9-#11, and Incredible Hulk Annual #10.

Review: Steve Ditko might refuse to draw Spider-Man again, but he was still willing to pencil these annual back-ups. Aside from technically getting Ditko stories between the covers of a Spider-Man comic, these back-ups also granted us the odd experience of seeing Ditko draw characters like Captain Universe and Solo. This is filler material that’s supposed to be a quick read, but Conway does add some depth to the story by centering it on sub-atomic physics and the Uncertainty Principle (the Quantum Mechanic is ordered to strip the universe down to its basic components and fix its basic “relativity displacement”). And why is a Captain Universe story showing up in a Web of Spider-Man annual? The answer is coming, but not until the conclusion of Marvel’s next line-wide crossover…

A Mute Prayer for Deaf Ears

Credits: Fabian Nicieza (writer), Mark Propst (penciler), Andy Mushynsky (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Wild Pack operative Kuryova is killed in battle, yet Silver Sable refuses to grant his widow his pension due to Kuryova’s cowardice and insubordination. Sable reflects on her cruel father, and the impact he’s had on her life.

I Love the ‘80s: The story is told against the backdrop of the Iran/Iraq war. Iraqis are also spelled “Iraquis,” which I’ve never seen before.

Review: This is another early Fabian Nicieza job, which tries to humanize Silver Sable while also emphasizing how heartless she can be. Revealing that she has daddy issues isn’t the most original take in the world, but I’m assuming this was already an established aspect of the character, and Nicieza gets enough out of the idea to justify ten pages. The rest of the issue consists of another “Saga of the Serpent Crown” back-up, which ran in all of the 1989 annuals, and a few Fred Hembeck pages. Hembeck counts down some of Spider-Man’s more “dubious” friends, foes, situations, and accessories. “Dubious” used to mean teaming up with Howard the Duck, and not having his eye ripped out and eaten in front of him, learning Gwen Stacy had an affair with Norman Osborn and gave birth to his children, or making a you-know-what with you-know-who. Oh yeah, he was also supposed to be a clone for a few years there, too, wasn't he? Anyone out there interested in a Fred Hembeck Destroys the Past Twenty Years of Spider-Man Continuity miniseries?

WEB OF SPIDER-MAN #58 - December 1989

Rematch

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Peter Parker boards a train to Pennsylvania, where Robbie Robertson is turning himself over to authorities after his forced escape from prison. The Grizzly confronts Peter, demanding he find Spider-Man and arrange a rematch. Peter reemerges as Spider-Man, and soon realizes Grizzly merely wants to regain his self-esteem. Spider-Man throws the fight, and although Grizzly later realizes he didn’t actually win, he feels lucky he got his shot.

The Subplots: Puma reveals to Spider-Man that he purchased the Daily Bugle in order to restore Spider-Man’s reputation and pay off his debt of honor. Kristy’s parents, Lou and Sibyl Watson, arrive in New York. Lou is verbally abusive and dismisses Kristy’s problem, while Sibyl stays in denial. MJ stands up to Lou and promises Kristy that she’ll be her family.

Web of Continuity: The Grizzly is a former flunky of the Jackal, who first appeared in Amazing #139. Puma says he owes Spider-Man a debt of honor for “numerous reasons.” This issue doesn’t make it clear, but other issues list Puma’s accusation that Spider-Man’s a thief, from Web #50 , as his motivation for buying the Bugle and helping Spidey’s reputation.

*See _________ For Details: Thomas Fireheart took over the Daily Bugle and fired Jonah Jameson in Spectacular Spider-Man #157. Robbie Robertson also confronted Tombstone on an Amish farm in the same issue.

Review: Here’s another villain reformation that many creators ignored. Gerry Conway seems to have a knack for creating likeable characterizations, because I have a hard time thinking of the Grizzly as a loser after reading this issue. He’s a decent guy who wants a second chance, but can’t let go of his humiliating defeat from years earlier. After he realizes Spider-Man threw the fight, Grizzly accepts the kind gesture and moves on with his life. That is, until later creators come along and just throw him into a “loser’s squad” of lame villains out for more revenge against Spider-Man.

It’s obvious that Grizzly was already considered a joke by the time this issue was released, since even the characters in the story can’t stop laughing at his bear suit (although Alex Saviuk actually makes it look pretty credible). It’s easy to keep using Grizzly or Rocket Racer as throwaway gag characters, but making the reader actually care about them takes real skill. Personally, I think the earnest attempts Conway made to actually do something with the characters are more entertaining than the predictable joke stories. The subplots tie in with the main story, as Robbie Robertson and Kristy Watson deal with their own self-esteem issues. Robbie feels whole again after finally confronting Tombstone, while Kristy’s eating disorder is traced back to her dysfunctional family. She has to begin her own journey to discover her self-worth, and MJ promises to be there for her. As Robbie conveniently explains as he returns to custody, “If you believe in yourself…what other people think of you, or do to you, just doesn’t matter.” It’s all very touching, but maybe we should forget that Kristy completely disappeared from the books just a few issues after MJ promised to help her though her problems and take care of her like family.

WEB OF SPIDER-MAN #56-#57, November-December 1989

Skin-Deep

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: At ESU, Peter Parker tries to develop a new web fluid, but the results are too corrosive. He’s distracted by a white supremacist rally, which is soon interrupted by an enraged Rocket Racer. After pulling him away, Spider-Man learns that Bob Farrell, the Racer’s secret ID, and his family had an encounter with the racists earlier that day. Later, both Spider-Man and Rocket Racer witness the skinheads’ bombing of the Afro-American Studies building. Racer confronts their leader, Eddie the Cross, and accidentally breaks a vial of Peter’s corrosive web fluid over his head. Eddie escapes, and later emerges as the skinless villain Skinhead.

The Subplots: Mary Jane’s friends suggest she audition for a soap opera. J. Jonah Jameson learns that Thomas Fireheart is buying out shares of the Daily Bugle in a hostile takeover.

*See _________ For Details: After the events of Spectacular Spider-Man#155, Peter believes Robbie Robertson is dead. (He fell out of a helicopter after Tombstone forced him to escape from prison, but of course, he turns out to be fine).

I Love the ‘80s: Well, a certain Seinfeld star has learned that “Afro-American” isn’t really used anymore. Peter wonders if Michael Keaton also has problems as a superhero. Later, he deems he’s too bored to watch Arsenio. There’s also a panel that has Spider-Man explaining the difference between good skinheads and bad skinheads. “Most skinheads are no more racist than anyone else. Heck, the skinhead style started with an appreciation of black West-Indian music.” I can’t imagine a story today going out of its way to acknowledge the non-racist skinheads, so I guess the bad ones have ruined the term for everybody.

Creative Differences: A re-lettered word balloon emphasizes that Peter knows Nathan Lubensky is dying, after he initially thought Aunt May received the negative test results.

Review: Yeah, I know…one of the few black people Peter Parker has ever known just so happens to run into problems with skinheads. You could argue that this isn’t the best way to use Rocket Racer (especially since Spider-Man has to repeatedly lecture him not to resort to violence and to stay calm), but I actually enjoy Conway’s interpretation of the character. As a kid, Rocket Racer’s name, gimmick, or costume never really appealed to me, but I’ve always liked him as a character. For years, I was convinced that with a new gimmick Rocket Racer could at least be as a credible a hero as any of the New Warriors. Looking back, it would have to be Conway’s characterization that made me feel that way, because I’m almost positive he wrote the only Rocket Racer appearances I read as a kid. The idea of an ex-con putting his past behind him and restarting his life isn’t new, but Conway’s portrayal is believable, and pitting him against people scummy enough to harass his mother and sister makes him an easy hero to root for.

Flesh and Blood

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Skinhead morphs into a shapeless mass of flesh and absorbs his fellow Nazis. Meanwhile, Rocket Racer and Spider-Man research Skinhead’s past and learn that he’s actually Jewish. At his childhood home, Skinhead emerges to kill his rabbi father. Spider-Man targets the skeleton within Skinhead’s form and eventually knocks him unconscious.

The Subplots: A delirious Kristy escapes from the Eating Disorder Unit and visits the Parkers. They bring her back to the hospital, where a doctor orders them to stop enabling Kristy. MJ gets firm with Kristy, telling her she isn’t going to watch her kill herself.

Web of Continuity: Peter and MJ are now moving in to their SoHo loft, which is upstairs from Harry and Liz’s apartment. The building is a converted factory, so the loft is essentially an empty floor with no actual rooms. This presents a problem for Peter when he’s wearing his costume around the house and company arrives. The events of the other Spider-titles, specifically the scenes that actually introduce the loft, have to happen “between the pages” of this storyline, since the Parkers were still living with Aunt May, and unaware of the loft Harry was setting up for them, last issue.

Creative Differences: Marvel staffer Dwayne McDuffie apparently didn’t care for this storyline, or the introduction of Night Thrasher in New Warriors. His response was a pitch entitled Teenage Negro Ninja Thrashers (I should point out that Rocket Racer doesn't have any type of stereotypical speech pattern in these issues, and I don't think Night Thrasher did, either).

I Love the ‘80s: Kristy is repeatedly referred to as a “bulimic-anorexic,” a term I’ve never heard, but was perhaps an early idiom for plain ol’ bulimia.

Review: So, Eddie the Cross, a self-hating Jew, can now morph into a shapeless blob and absorb people in his new identity -- Skinhead, the White Redeemer. Pure. Genius. Gerry Conway has crafted a Spider-Man tale that combines an after-school special with a B-movie threat, and guest-stars the Rocket Racer. And while you can’t deny the camp factor, I do genuinely believe this is a well-crafted story. Conway focuses on “the barriers to happiness a man carries within himself,” as we learn that Eddie has spent his life as an outcast, first searching for his identity as a fierce Zionist before rejecting his heritage and embracing Nazism. Rocket Racer grew up without a father, leading to a low self-worth that told him that his dreams of college were pointless, and that his only future was in crime. Racer now wants to prove himself as a scientist and a superhero, but he’s haunted by the mistake that’s left Eddie as the Skinhead. Spider-Man tries to console Racer, but he also feels guilty about creating the web-fluid that mutated Eddie (…and how exactly did that work again?). Plus, in his personal life, he has no idea what to do with Kristy. Personally, I find these dilemmas much more interesting than the perpetual “rookie/naïve young person” predicaments that Marvel can’t seem to let go of. Why can’t a younger hero look up to Spider-Man? Why shouldn’t he offer counsel to a reformed criminal who wants to do the right thing? And who says Rocket Racer has to be a joke character, anyway? But, no, Spider-Man’s destined to face the same problems over and over again, and Rocket Racer’s reformation has to be ignored so that he can be used as a throwaway, retro-joke villain*. Hooray for progress.

*That's a snarky reference to an early Tangled Web issue, but apparently his more recent appearances have been more respectful of his character. I still say it's only a matter of time before he shows up again as a wacky '70s throwback villain, though.

WEB OF SPIDER-MAN #54-#55, September-October 1989

The Wolves of War

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: The Lobo Brothers attack the Kingpin’s penthouse, but are unable to find him. Spider-Man barely reaches home after being injected with a virus by Jonah Jameson. He awakes two days later and learns the Daily Bugle is blaming him for the gang war. He angrily confronts Jameson at his home, only to learn that he’s the Chameleon in disguise. After Chameleon escapes, Spider-Man rescues the captive Jameson.

The Subplots: Kristy Watson is admitted into the hospital to treat her bulimia. MJ begins to buckle under all of the pressure she’s experiencing.

Web of Continuity: Peter refers to Kristy as being thirteen, but other issues list her age as fifteen. The letter column later confirms she’s fifteen. MJ’s modeling career is now dead, thanks to the efforts of Jonathan Caesar. Carlos Lobo begins to wonder if Glory Grant is making Eduardo weak.

*See _________ For Details: The Chameleon, disguised as Jonah Jameson, injected Spider-Man with a virus in Spectacular Spider-Man #153. Kristy was taken away by an ambulance and diagnosed as a bulimic in the same issue.

“Huh?” Moment: Chameleon unleashes a gas to stop Spider-Man, bragging that the nose filters he wears protect him. What about his open mouth, which he’s using to taunt Spider-Man? Considering that Spider-Man wears a full mask, he’s actually more protected from the gas than Chameleon is.

Review: Revealing that the Kingpin is in hiding drags the main story out for a few more issues, which doesn't seem necessary, unless Conway really wanted Jameson rescued before the gang war storyline concluded. This is essentially the same as the past few issues; the gang war escalates, Nick Katzenberg annoys his coworkers, Kristy gets sicker, and MJ grows more distressed. The Chameleon-posing-as-Jameson subplot is resolved, ending a storyline that has been growing in all of the titles. Although Web never really explored the idea, the other titles emphasized that Chameleon had essentially blacklisted Peter at the Daily Bugle in favor of Katzenberg’s more scandalous Spidey photos. This added to the Peter and MJ’s money problems, and made the prospect of moving out of Aunt May’s even dimmer. Like I’ve said earlier, I’ve always loved that status quo, and Conway’s handling of the boarding house’s “family” is one of my favorite aspects of his run.

Showdown

Credits: Gerry Conway (writer), Alex Saviuk (penciler), Keith Williams (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: The Lobo Brothers wreck havoc in New York, hoping to draw Kingpin out of hiding. He eventually returns, offering a truce. Spider-Man tails Glory Grant, who’s taken to the secret meeting by Eduardo Lobo. The peace conference is interrupted by mobsters working for Chameleon and Hammerhead, who start a shootout. Kingpin escapes, as Glory uses the Arranger’s gun to kill Eduardo during his fight with Spider-Man. When Spider-Man thanks her, she reveals she wasn’t aiming for Eduardo.

The Subplots: Jameson returns to work, and refuses to run a deceptive photo by Nick Katzenberg. Peter and MJ continue their futile search for an apartment in Manhattan. Katzenberg learns Glory is dating Eduardo and follows her to the meeting, taking photos of the entire ordeal.

I Love the ‘80s: Glory Grant now has a hairstyle reminiscent of something you would’ve seen on the first season of In Living Color.

“Huh?” Moment: The Lobos Brothers, who are mutants born with the ability to turn into werewolves, only transform during a full moon, and are vulnerable to silver. This only makes sense if you believe they’re descended from mutant werewolves who somehow inspired the traditional werewolf legends, which sounds like Chuck Austen nonsense.

Review: After several months of buildup in Spectacular and Web, the Lobos Brothers story concludes. Oddly enough, even though there are numerous directions Conway could’ve gone after this issue, he moves on and doesn’t really look back. After this issue, Glory Grant fades into the background, and the repercussions of her relationship with Eduardo are never explored. Chameleon and Hammerhead make a few more appearances together, but never take on Kingpin, and within a few months, Chameleon is working on his own again. And what does Carlos Lobo do now? What happened to these threads? Maybe Conway was just bored with the underworld stories, but he left so many potential doors open, it’s a shame they weren’t explored.

Regardless of the wasted potential, this is an exciting conclusion for the arc. Conway really has a strong handle on all of the characters, so the Kingpin appears appropriately imposing, Eduardo seems genuinely conflicted, and Peter’s standard anxieties feel real. Aside from his inability to console MJ on their current problems, he also has no idea what to tell Glory when she asks him for help. He gives the horrid advice of “follow your heart,” which is exactly what she does a few pages later when she tries to kill him when he’s fighting her boyfriend. Really, Glory should be an emotional wreck after the events of this issue, so again I’m left wondering why her character was brushed aside after this arc. Oh, well. The next issue brings us the Rocket Racer vs. Nazi-blob storyline, so at least I have something to look forward to.

WEB OF SPIDER-MAN #52-#53, July-August 1989

Chains

Credits: Gerry Conway (writer), Frank Springer & John Romita, Sr. (art), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Jameson attempts to break out of his chains while the Chameleon is away. He flashes back to his experiences as a young reporter investigating police corruption. When his editor refuses to pursue the story, Jameson goes to work for the Daily Bugle. Jameson’s sidekick, a copyboy named Danny, is soon killed by a trap intended for Jameson. Jameson works through his grief and connives a way for the cop behind Danny’s death, Kenner, to confess on tape. In the present, Chameleon returns as Jameson is freeing himself. He locks Jameson in the closet as retaliation.

The Subplots: None.

Web of Continuity: We learn about the history of Jonah Jameson and the Daily Bugle in this issue. Jameson is a twenty-year-old reporter in the flashback, working for the New York Herald Journal Express, after a stint at the Daily Bugle. He’s courted back by Bugle owner William Walter Goodman, who encourages Jameson to pursue the story and inspires him to keep going after Danny is killed.

Review: This is a “special” issue, from back in the day when stories that didn’t feature superhero action were rare. John Romita, Sr. is the co-artist, which is another indication Marvel probably wanted this story to have more weight than the average issue. Gerry Conway parallels Jameson’s struggle to expose police corruption with his fight to escape the Chameleon’s imprisonment, while also providing another justification for Jameson’s hatred of heroes. Following his experiences with Kenner, Jameson knows heroes “are the bunk” and he’s determined to know the truth about the people who claim to be selfless defenders of the innocent. He’s paired with Danny, a thinly veiled Jimmy Olsen analogue who actually gets offed during the course of the story. Conway goes a long way towards humanizing Jameson in the flashbacks, playing up his admirable qualities while not shying away from his blatant hypocrisy and inflated ego. Jameson’s one of the better supporting cast members in comics, and while it’s easy to play him for laughs, the stories that convincingly portray him as more than a cartoon character are also worth trying.

Wolves in the Night

Credits: Gerry Conway (writer), Mark Bagley (penciler), Keith Williamson (inker), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Spider-Man intercepts an arms shipment into New York and learns that the Lobos Brothers are planning to attack the Kingpin’s tower at midnight. As Peter Parker, he tries to tell Jonah Jameson, but “Jonah” refuses to run the story. After investigating Glory Grant’s apartment, Spider-Man locates the Lobo Brothers, but can’t prevent their escape. Soon, the Arranger sees their helicopter outside of his window.

The Subplots: Kristy Watson collapses in the bathroom, and Aunt May is unable to help her because the door is locked.

Web of Continuity: Notice that Alex Saviuk draws Spider-Man with larger eyes on the cover, which means the McFarlane look is now the “official” style. Mark Bagley’s interior art also follows the McFarlane design.

“Huh?” Moment: Peter storms out when “Jonah” refuses to print his story on the midnight attack, upset that a potential bloodbath won’t be prevented. There are other newspapers in New York, Peter. You’ve even worked for a few of them. Why does he act as if the Daily Bugle is his only option?

Review: The Lobos Brothers storyline continues, as Spider-Man finally pieces together that the Lobos Brothers are actually werewolves, Joy Mercado comes clean about spying on Glory Grant (a Spectacular Spider-Man storyline referenced here for the first time), and the Chameleon and Hammerhead sit back and wait for the Lobos to handle the Kingpin. You would think that the story is reaching the climax, but it actually runs until #55, with a few more chapters showing up in Spectacular Spider-Man. While Conway advances the plot, he works in some nice character moments. Spider-Man is disgusted by working with the Arranger, Arranger is terrified of Kingpin, Joy feels guilty for spying on Glory, Kristy is jealous of MJ and still trying to hide her crush on Peter, and Kate Cushing is sticking with the Daily Bugle out of loyalty to Robbie Robertson, even though Jonah appears to be worse than ever. To me, this is the material that makes a Spider-Man comic, and it’s one of the reasons why over-the-top “events” never seem to work with the franchise. If there's no room for the characters, it's not Spider-Man.