AMAZING SPIDER-MAN #428 - November 1997

 

Living Large!

Credits:  Tom DeFalco (writer), Steve Skroce (penciler), Bud LaRosa (inks), Bob Sharen (colors), Comicraft’s Kiff Scholl (letters)

The Plot:  The revived Dr. Octopus chases Spider-Man into the streets, causing havoc.  Lady Octopus convinces Ock to abandon the fight so that they can check on Stunner’s human body.  They discover that she’s now in a vegetative state; Ock swears vengeance against Spider-Man.  Later, Black Tarantula ambushes Delilah and nearly kills her.  He then uses his healing powers and revives her, so that she can live to warn the Rose.

The Subplots:  MJ convinces Peter to join her at an ESU toga party.  Chesbro is at the party, spying on Professor Caches.  Caches introduces MJ to her friend, Dante Rigoletto, who abruptly leaves.  Meanwhile, Jacob Conover meets with Robbie Robinson, informing him that Norman Osborn wants him back at the Daily Bugle.

Web of Continuity:  

• Spider-Man doesn’t understand why Dr. Octopus doesn’t seem to know his secret ID, since he did know it at the time of his death.
• The Rose’s real identity as Jacob Conover is vaguely hinted at this issue, when the Rose announces that he has a previous engagement to Delilah, and in a later scene, we see Conover meeting with Robbie Robertson.
• Jill Stacy is mis-colored as Shantal Wilsk in one scene.  I realize that all of MJ’s ESU friends are interchangeable, but this is a little ridiculous.

I Love the ‘90s:  Spider-Man tells Dr. Octopus that his cornball dialogue is “as DEAD as the MACARENA!”

"Huh?" Moment:  Dr. Octopus boasts that Lady Octopus has given him a personal force field that will block Spider-Man’s blows.  On the very next page, right after it deflects Spidey’s fists, Spider-Man’s able to hit Ock with a giant piece of concrete.  What kind of a force field is this?!

We Get Letters:  The editorial response to a fan’s suggestion that the Clone Saga could be wiped from our memories states, “one must never, ever mess with the Goddess of Continuity.”   It goes on to say that previous events in Marvel stories can’t be erased due to the damage it would cause to a cohesive timeline.

Review:  So, Doc Ock has officially returned, even if his resurrection is marred by its connection to the never-ending, never-that-interesting Rose/Black Tarantula storyline.  Thankfully, DeFalco has Doc Ock immediately reject both characters and just go his own way, which naturally means trying to kill Spider-Man the second he’s revived.  The opening fight scene this issue is great, combining some of DeFalco’s funniest dialogue in a while with some imaginative action sequences.  There’s a nice bit that has Spider-Man dodging Ock’s tentacles by sliding sideways into an open car window, then driving the car into the tentacles, and then a streetlight, in order to knock Ock to the ground.  Skroce has a lot of fun with the scene, and of course he has a ball with the excessive amounts of debris and broken glass caused by the fight.  When the book plays to Skroce’s strengths, it is pretty entertaining.

Unfortunately, Spider-Man’s fight with Dr. Octopus is short lived.  The rest of the issue treats us to more Rose/Black Tarantula “intrigue,” along with some fairly pedestrian material at ESU.  A toga party…at college?  Man, I’m officially not bored by this stuff now!  MJ is also still snapping at Peter, but to DeFalco’s credit, she’s a little more likeable this issue than she’s been in most of the titles lately.  Peter and MJ’s conversation, which has her pointing out that Peter’s enemies don’t let him get in their way of enjoying life, seems to fit her established personality better than some of her more recent lectures.  The overall tone of the Peter/MJ scenes has felt off for a while now.  Most notably, MJ’s pretty blasé about the fact that Norman Osborn, who most likely murdered her baby¸ is now back from the dead again and is Peter’s boss.  You’d think this would’ve created some memorable drama in the Parker household, but unfortunately, the personal life subplots have been stagnant for months now.

AMAZING SPIDER-MAN #427 - October 1997

 

Sacrifice Play!

Credits:  Tom DeFalco (writer), Steve Skroce (penciler), Bud LaRosa (inks), Bob Sharen (colors), Richard Starkings & Comicraft (letters)

The Plot:  A hallucination gives Spider-Man the strength he needs to escape his bonds.  As Delilah tries to subdue him, Stunner volunteers to be the living sacrifice needed to revive Dr. Octopus.  Lady Octopus questions if Stunner will work as a replacement, given that her real body is inside a VR matrix.  The ritual continues, and both Stunner’s avatar and Master Zei are disintegrated.  Lady Octopus downloads a computer copy of Doctor Octopus’ personality into his brain, allowing him to be revived with a bloodlust for Spider-Man.

The Subplots:  Madam Qwa reveals that the True Believers are still working with Black Tarantula and plan on double-crossing the Rose.  Chesbro, Black Tarantula’s flunky, spies on ESU professor Marina Caches.  MJ and her friend Shantal Wilsk are discussing the class Professor Caches teaches.

Web of Continuity:  

• Madam Qwa refers to Master Zei as her “brother.”  Future issues seem to indicate she means this literally.
• I believe this issue marks the first appearances of Professor Marina Caches and Shantal Wilsk.  Shantal is described as the daughter of a prominent defense attorney, who enjoys speaking as if she’s “from the ‘hood” even though she isn’t.  Marina Caches teaches Criminal Psychology, and makes references to a bad relationship with her ex-husband.
• Delilah hints that she had a tragic past before becoming an assassin.
• The recap page is calling Carolyn Trainer “Dr. Octopus II” again, as opposed to her moniker last issue, Lady Octopus.

I Love the ‘90s:  Spider-Man comments that his “game” with the ninjas is pretty entertaining, even if it isn’t Turok the Dinosaur Hunter.

Approved By The Comics Code Authority:  Delilah to Spider-Man, during their fight:  “Did you miss me, Spider?  Sorry for the delay, but a girl likes to look her best -- especially when she’s getting nasty with her man!”

Gimmicks:  This issue has a gatefold, wraparound cover, with art by Steve Skroce, John Romita, Sr. and John Romita, Jr.  The price increases from $1.99 to $2.25.

Review:  Thankfully, this issue is light on ninjas.  They’re still around, of course, but DeFalco seems to have realized that Spider-Man has been fighting far too many ninjas lately, so he’s dedicated the bulk of the issue’s action to a fight between Spider-Man and Delilah.  That’s not much of an improvement, but there is a novel idea in here, as Delilah forces the fight into an air conditioning duct so that Spider-Man isn’t given enough room to jump around.  Skroce does a great job on the fight scene, especially when it calls for him to play around with shadows, so it’s nice to see DeFalco tailoring the story towards Skroce’s strengths.  And while the actual resurrection of Dr. Octopus is a fairly obvious copout, given that the character was only recently killed off, DeFalco makes the events feel more like an actual story this issue and not simply a quickie correction of a mistake.  Stunner’s surprisingly fleshed out very well in the issue’s opening, humanizing her struggles with low self-esteem and acceptance.  Her decision to replace Spider-Man as the sacrifice needed to resurrect Ock could’ve come across as arbitrary, but the choice is set up very well in the beginning of the issue.

So what’s to complain about this issue?  I can’t review the story without addressing Shantal Wilsk.  I’m not going to accuse the creators of inserting Shantal into the book as a token minority, since I have no idea what thought process went into creating her, but it is hard not to view her as just more wallpaper at the ESU setting.  Why are we being introduced to another college buddy of MJ’s when her alleged “best friend” Jill Stacy remains a pathetic cipher?  Has any ESU supporting cast member introduced so far during this era done anything to make you care in any way about them?  Have any of the writers shown any enthusiasm regarding Peter and MJ’s return to college?  And, as a personal pet peeve, I have to object to the revelation that Shantal’s father is a famous criminal defense attorney.  Tom DeFalco worked in countless references to the OJ trial during his comics in the ’90s, and I can’t help but to see JOHNNIE COCHRAN in large print when I read that line.  I think DeFalco was on his longest No OJ Reference streak when this issue hit the stands, and he just blew it.

AMAZING SPIDER-MAN #426 - September 1997

Only the Evil Return!

Credits:  Tom DeFalco (writer), Steve Skroce (penciler), Bud LaRosa (inks), Bob Sharen (colors), Richard Starkings & Comicraft (letters)

The Plot:  Lady Octopus investigates the robbery of Dr. Octopus’ grave.  After getting the information she needs, she uses her VR technology to recreate Stunner.  Together, they invade the Rose’s secret hideout, where Master Zei and the True Believers are keeping the body.  Spider-Man learns of the body’s location from the same informant that spoke to Lady Octopus.  Soon, Spider-Man, Lady Octopus, and Stunner are fighting the True Believers and Rose’s bodyguard Delilah.  However, after Rose speaks to Lady Octopus and Stunner, they turn on Spider-Man.  He’s captured and bound.  Master Zei declares that Spider-Man will be the living sacrifice in Dr. Octopus’ resurrection.

The Subplots:  MJ visits her therapist, Dr. Reandeu.  Alison Mongrain, meanwhile, complains that Norman Osborn is missing payments.  She compiles a list of “likely marks” she’ll use for money, which includes the Parkers.

Web of Continuity:  

• I believe this is the first time Dr. Reandeu is actually seen on-panel.  I’m not sure if she’s even been established as a female before now.
• Alison Mongrain keeps her cat in a child’s playpen.  One she says was specifically built for the cat.  So, even this early the creators were trying to cast doubt on the idea of Alison Mongrain secretly holding Peter and MJ’s baby?
• The True Believers are wearing traditional Hand red this issue, as opposed to green.

I Love the ‘90s:  Peter makes a reference to the Kids in the Hall sketch “Head Crusher” while staring at Paul Stacy in class.

Review:  I don’t think anyone was clamoring to see even more ninjas in Amazing Spider-Man, but Tom DeFalco can’t seem to let go.  After what feels like fifty appearances in this title, the True Believers have yet to prove themselves as engaging, or even particularly competent, opponents.  Even Spider-Man comments on how lame they are during the issue’s fight scene; he’s only taken out when Stunner and Lady Octopus turn against him in the final pages.  I suppose there is precedent in the Marvel Universe for Hand ninjas to raise the dead, as seen in Frank Miller’s Daredevil run, so it’s not totally ridiculous for DeFalco to use them when resurrecting Doc Ock.  The problem is that the ninjas have already worn their welcome out in this book, and they usually come across as pathetic cannon fodder during the fight scenes, so it’s hard not to get annoyed when you discover they’re back for another story.

The issue isn’t a total wash, thankfully.  The scenes setting up Ock’s resurrection are handled well, as Peter begins to question if any of his old foes could ever stay dead.  And there’s at least some attempt to show how this impacts MJ, even if it leads to another scene with her whining to a therapist.  I’m not sure if Lady Octopus and Stunner really needed to return, especially if Marvel was truly serious about moving on from the Clone Saga, but I suppose it’s a welcome callback for fans of the Ben Reilly days.  The true highlight of the issue is Steve Skroce’s art.  While he still doesn’t have a handle on some of the supporting cast members (MJ looks like Kitty Pryde in one scene!), he does produce some fantastic Spider-Man pin-up shots this issue.  His willingness to play with shadows, and his fondness for those multiple Spider-Men on the same panel shots, evoke a nice Ditko feel.

AMAZING SPIDER-MAN #425 - August 1997

The Chump, the Challenge, and the Champion!

Credits:  Tom DeFalco (writer), Steve Skroce (penciler), Bud LaRosa (inks), Bob Sharen (colors), Comicraft (letters)

The Plot:  Electro annoys the Rose by ignoring his plans, leading the Rose to tell Spider-Man, via the Daily Bugle, how to find him.  Spider-Man prepares to face Electro by devising a non-conductive costume and webbing.  He teams with X-Man to stop Electro, and in spite of X-Man’s insistence that Electro should be killed, Spider-Man tries to talk Electro out of unleashing an electrical bomb on the city.  Realizing that Spider-Man feels responsible for his life, Electro gets his revenge by dropping to his apparent death in the river.

The Subplots:  Robbie Robertson is still fighting with his wife, who wants him to quit the Bugle.  Peter’s excessive aspirin use has aggravated his ulcer.  Aunt Anna’s homemade cure later gives him relief.  MJ is annoyed with Peter for abandoning his family responsibilities while searching for Electro.  He promises to be a better husband after Electro is defeated.  Peter misses another class at ESU.  Paul Stacy refuses to share his notes from Professor Howard’s lecture.  Meanwhile, the Rose hires the True Believers away from Black Tarantula.  Later, they rob Dr. Octopus’ grave.

Web of Continuity:  

• Tom DeFalco is so dedicated to the idea that Morbius’ bite gave Spider-Man headaches, he’s made Peter’s aspirin usage a plot point.  (Does aspirin work on vertigo as well?)  Spider-Man’s ulcer goes all the way back to a storyline in the 1970s.
• This is the first title to acknowledge Jonah’s hospitalization, which happened months earlier in Spectacular Spider-Man.
• At ESU, MJ meets former Bugle interns Phil Urich and Meredith Campbell for the first time.  I’m guessing they’re here to introduce the subject of Jonah’s hospitalization, because they certainly don’t play a large role in upcoming issues.

I Love the ‘90s:  Electro refers to X-Man as a “Leonardo DiCaprio wannabe.”  Later, Electro also releases a giant-sized “NOT!” after pretending to surrender.

Review:  Does anyone remember when Steve Skroce was supposed to be the regular artist of this book?  I only have fuzzy memories, to be honest.  The book has suffered a great deal in the past few months without a regular artist, as almost every issue has had “Generic ‘90s Fill-In” written all over it.  Amazing, more than any other title, needs a consistent portrayal of Spider-Man and his supporting cast, and without that the book just felt like it was stranded in limbo.  Now that Skroce has returned, I’m reminded that I actually like his interpretation of Spider-Man quite a bit.  He’s obviously a fan of the Ditko-style “multiple Spideys in the same panel” shot, and I really like the way he handles Spider-Man’s eyes and web pattern.  It’s a nice blend of the traditional and the post-McFarlane look, I would say.  His version of Peter Parker and most of the supporting cast is also fine, with the major exception of MJ, who he has yet to get a handle on.  She looks like a Halloween witch decoration during her brief scenes this issue.  Skroce can draw attractive females at times, so I’m not sure why he has such a problem with a character who’s actually intended to be a knockout.

Of course, this title has had numerous problems that have had nothing to do with fill-in art lately.  DeFalco has gone off on an odd tangent with the True Believers, and his big Rose/Black Tarantula gang war arc has become a drag on the book.  The subplots have also been tepid, with Peter fearing bad grades again while Robbie is getting nagged by his wife.  MJ also turns into a nag this issue, suddenly deciding that Peter is spending too much time as Spider-Man.  None of these ideas are that great to begin with, but it’s especially annoying when two subplots in the same issue revolve around a character getting nagged by his bossy wife.  Maybe there’s some other marital dynamic we could explore?

In more recent issues, DeFalco’s turned much of the focus on to Electro, starting with the reasonable premise that a souped-up Electro now wants to prove that he isn’t a loser.  Playing up Electro’s low self-esteem enables DeFalco to also emphasize Spider-Man’s compassion, one of the traits that I’ve always liked most about the character.  Spider-Man of course wants to stop Electro from setting off a bomb, but he also feels genuinely bad when he realizes that he’s also been taking his frustrations out on the villain, which has only aggravated the situation even more.  I don’t know if X-Man is really the best character to be representing the other point of view (which is “just kill the idiot before he hurts anyone”), but if we’re stuck with the idea of Spidey and X-Man being pals, I guess that’s a good enough role for him.  

So, yes, Spider-Man has a legitimate character arc to go through during his fight with Electro.  DeFalco is usually very good about tying the character conflict and the physical conflicts together.  But as the resolution to a fairly lengthy arc, the execution feels a little flat.  This is all material J. M. DeMatteis covered very well in his “Light the Night” arc, and while DeFalco is clearly using it as inspiration, he hasn’t added anything to the original story.  The problem of “Too Much Spidey” also rears its head again, as DeFalco expects us to believe that Spider-Man’s been searching tirelessly for Electro for weeks, even though none of the other titles have bothered to mention it even once.  There are so many Spider-Man books going in so many directions at this point, it’s impossible to get the sense that any one event is dominating his thoughts.  A super-charged Electro should feel like a big deal, as should Jonah being hospitalized, or Robbie considering retirement, or Flash dealing with alcoholism, or the Chameleon discovering Spider-Man’s secret ID, or Kraven returning from the grave, but instead every book is now so segregated it feels like there’s no center.  (Notice that I only listed plotlines from two of the books in that list.  Which is a sign that the other books were either wisely staying out of the way or were too un-ambitious for their own good, I guess.)  With no center, it’s much harder to believe that you’re reading about the lives of Peter Parker and his friends and family.  And without that you’ve got a collection of somewhat random Spider-Man stories, which isn’t enough to carry a line of titles.

AMAZING SPIDER-MAN #421 - March 1997

 

And Death Shall Fly Like a Dragon!

Credits:  Tom DeFalco (writer), Steve Skroce (penciler), Bud LaRosa (inks), Bob Sharen (colors), Comicraft (letters)

The Plot:  Angela Yin’s cousin Meiko is ambushed by a group of ninjas called the True Believers at a charity carnival.  Spider-Man intervenes, but Meiko refuses his help.  Soon after, Meiko explains to Angela that her former fiancée Karsano is now a True Believer.  Under the tutelage of Madam Qwa, he’s been ordered to kill Meiko in order to earn the title of Dragonfly.  Spider-Man spots the True Believers while spying on Angela’s apartment.  A battle soon erupts, and Spider-Man destroys Karsano’s family sword.  Karsano wills himself to disintegrate as penance.  Later, Meiko meets in secret with Madam Qwa, who labels Meiko the Dragonfly.

The Subplots:  Madam Qwa says that their “current employer” wants Spider-Man dead.  We’ll discover in the backup story this is a reference to the Black Tarantula subplot.

Web of Continuity:  The True Believers are said to be an offshoot of the Hand.  As many fans will mock for years, the True Believers wear green uniforms, earning them the nickname of “Green Ninjas.”

I Love the ‘90s:  Within the first few pages of the story, we have references to Mortal Kombat, “Hammer Time,” and Hard Copy.  Spider-Man also blames the resurgence of ninjas on Jackie Chan’s popularity in America.

Review:  And, once again, we see that Asian Supporting Cast Member = Ninjas.  I don’t know if any effort was placed into developing Angela Yin as a character by this point, but I have read a lot of Amazing Spider-Man from this era, and she’s still a blank slate to me.  Using her as an excuse to introduce a hackneyed ninja storyline doesn’t do a lot to make her endearing.  At least when Opal was used to as a means for some cyber-ninja insanity in X-Factor, she was already a fleshed out character that had been established for a few years in the book.  Angela Yin’s just a cipher introducing more ciphers, so it’s impossible to care about any of this.  Also, I’ve always hated the name “True Believers.”  It’s pretty inexcusable for any non-comedy story, but attaching it to band of ninjas from the Orient is even worse.

Hidden Agendas

Credits:  Tom DeFalco (writer), Geof Isherwood (art), Paul Becton (colors), Comicraft (letters)

The Plot:  Peter arrives at ESU in time to make his tuition payments with MJ.  They begin their first day of school, and run into Paul and Jill Stacy.  Peter’s professor, Dr. Howard, warns Peter to drop his class if he has any doubts about doing the work.  Meanwhile, the True Believers follow the Black Tarantula’s orders and attack the Rose’s operation.

The Subplots:  Peter runs into Jacob Connover, who is teaching Journalism at ESU after being laid off from the Daily Bugle.  The story emphasizes his grudge against Robbie Robertson, but I don’t think anything comes of it.

Web of Continuity:  For the record, Peter says he’s going to school to complete his graduate studies in Bio-Physics.  

Review:  Apparently Steve Skroce was already having deadline problems, leaving Tom DeFalco to tell the story of Peter and MJ’s first day back at school as a separate backup story.  It’s a sad forecast for what’s to come -- I don’t think anything memorable ever emerges from the Parkers’ return to college.  I can understand why the creators assumed that reviving the ESU setting could introduce some new story possibilities, and provide an easy way for the Parkers to interact with the editorially mandated return of the Stacy family, but no one writing the books during this time seems too invested in the idea.  I do like the art, though.  This is the most stylized I’ve ever seen Geof Isherwood, as he pulls off a strange cross between Mark Texeira and Gene Colan.  I wish he could’ve done more work on the books during this era.

AMAZING SPIDER-MAN #420 - February 1997

‘Twas the Night Before Christmas…
Credits:  Tom DeFalco (writer), Steve Skroce (penciler), Bud LaRosa (inks), Bob Sharen and GCW (colors), Richard Starkings and Comicraft (letters)

The Plot:  Peter arrives in Central Park to photograph a street prophet, not realizing he’s the mutant X-Man.  X-Man recognizes Peter’s secret identity and asks to speak to Peter privately.  The two bond over stories about their past.  Meanwhile, El Uno escapes from the hospital.  He’s stalked by Delilah, who eventually kills him by slamming his body into a gasoline tanker.  Later, El Uno’s head is mailed to the Black Tarantula.

The Subplots:  Peter wants to buy an expensive pair of boots for MJ’s Christmas present, but can’t afford them.  Luckily, he makes enough money photographing the hole El Uno left in the hospital to buy the boots.  Later, after X-Man joins Peter for the Parkers’ Christmas dinner, he gives Peter a psychic conversation with Aunt May in his dreams.  She absolves him for any guilt he feels over losing the baby.

I Love the ‘90s:  The Daily Bugle contacts Peter through a beeper.

Review:  Ah, yes.  Peter Parker and X-Man were supposed to be great friends in the late ‘90s.  I have absolutely no idea what the thinking behind this move was.  Okay, I understand that Bob Harras wanted to make the Marvel Universe more cohesive and have the various corners of the MU interact more often, and it’s possible that someone felt the need to have Steve Skroce draw X-Man again.  But, seriously, who would want to be friends with an infamous snot like X-Man?  The only way DeFalco can make it work is by virtually ignoring all of Nate Grey’s established characterization (X-Man is the one who actually suggests skipping the gratuitous fight!) and just presenting him as a slightly naive teenager who doesn’t know how to responsibly use his power.  I wonder if Spider-Man has any words than can help him out?

DeFalco’s making the best of what he’s been given, and the result works out okay.  Ignoring Peter’s odd decision to cover a psychic in the first place (even if he were skeptical, I imagine Peter’s protective enough of his secret identity to just avoid telepaths), the Spider-Man/X-Man scenes are decent enough.  Since this is a Christmas story, DeFalco’s stuck in the odd position of writing the Parkers’ first Christmas since the miscarriage, and presumably losing Aunt May, yet adhering to Marvel’s decision not to dwell on the events of the past few years of continuity.  The story doesn’t get into any serious exploration of what Peter must be feeling, but instead works in a few references to him seeing a therapist and still feeling guilty.  Guilt that’s apparently magically relieved by this issue’s guest star.  I can see why many readers would view this as a cheat, but I think DeFalco narrowly walks the line.  We’re not getting the pages of psychological torment that J. M. DeMatteis might’ve provided during his first Spectacular Spider-Man stint, but DeFalco is working in hints of what Peter’s experiencing along the edges of the very mainstream superhero story he’s telling.  

Speaking of which, there isn’t much to say about the Black Tarantula storyline.  Two underworld characters we barely know anything about try to kill each other.  One succeeds.  Steve Skroce gets to draw another giant explosion.  It’s not great, but it’s obviously there to just nudge that plot forward and give the main story something to cut away to.

AMAZING SPIDER-MAN #419 - January 1997

Beware the Black Tarantula!
Credits:  Tom DeFalco (writer), Steve Skroce (penciler), Bud LaRosa (inks), Bob Sharen (colors), Richard Starkings and Comicraft (letters)

The Plot:  Ben Urich learns of an emerald deal between the Rose and an unknown crimelord known as the Black Tarantula.  During the meeting, Black Tarantula’s emissary ambushes Rose’s representative, Delilah.  The bomb Delilah brought for protection goes off, forcing Spider-Man to flee with Ben Urich, and leave his camera behind.  

The Subplots:  MJ paints over baby May’s room.  Aunt Anna tells MJ that she’s taking college night courses, which inspires her to consider college.  Peter also mentions his desire to finish his Master’s Degree.  

Web of Continuity:  

• According to the Chronology Project, this issue (and around a dozen other comics featuring Spider-Man) takes place in-between the pages of Sensational Spider-Man #13.  Presumably, they’re saying Spider-Man had numerous adventures right before he left on his flight to the Savage Land.  Since Sensational Spider-Man #12 ends with Peter getting his assignment to go to the Savage Land, I consider SSM #12-14 to be one complete arc, so I’m not going to be inserting other issues in-between this storyline when writing the reviews.
• Black Tarantula appears in shadow at the issue’s opening, speaking to his diminutive assistant Chesbro.
• The large man representing Black Tarantula, who Spider-Man initially assumes is Black Tarantula, is El Uno.
• Rose's top assassin, Delilah, is given unusually flamboyant fonts by Comicraft on seemingly arbitrary words.
• One of Ben Urich’s informants tells him that Black Tarantula is a cold-blooded killer, and that he’s recently come out of hiding after something happened to his wife and children.
• Peter complains that Aunt May’s old home only has one bathroom.  That seems highly unlikely given that it’s a two-story house.  And how did all of May’s boarders share one bathroom?

*See _________ For Details:  Fortunato consolidated much of the New York underworld in Spider-Man #74.  Robbie Robertson mentions Graydon Creed’s assassination, which occurred in the truly classic X-Factor #130.  Spectacular Spider-Man #241 (not Sensational, as the footnote reads) featured MJ’s return to baby May’s room.

I Love the ‘90s:  Spider-Man lets out a “Happy!  Happy!  Joy!  Joy!” while web-slinging.  He also mentions coming home in time to watch ER, but says MJ’s lost her crush on George Clooney since he signed on to play a “big bat in his next movie.”

Review:  Tom DeFalco has stated that he isn’t too thrilled with his late ‘90s return to Amazing Spider-Man.  I read this run once after the 40th anniversary Amazing Spider-Man CD-ROM collection was released, and have to admit that the bulk of the issues are underwhelming.  The quality probably would’ve been helped if Steve Skroce had remained as artist, but he’s fated to become the least “regular” artist in the history of this book.

This specific issue, however, doesn’t foreshadow the mediocrity to come.  It’s actually a nice little setup story that efficiently puts the pieces in place for DeFalco’s new direction.  I’m not sure if all of these hints are paid off (like the unusual amount of emphasis placed on a photo of MJ’s maternity doctor when Peter walks through the Daily Bugle), but it reads as a promising start.  And for fans of this era of Spider-Man, who had to suffer through one ridiculous plot twist and strained status quo after another for over two years, it was probably comforting to read a simple story about Peter and MJ dealing with real life issues, Spider-Man taking photos for the Daily Bugle, and new mob bosses invading New York.  

It’s also a decent looking comic, although I recognize that some fans have issues with Steve Skroce’s faces.  For some reason he can’t seem to give MJ a facial expression outside of “annoyed cheerleader,” which doesn’t match DeFalco’s dialogue at all, but I have no problem with the rest of the civilian cast.  And his Spider-Man is very good.  I think Mike Wieringo will go on to develop the best Spider-Man from this era, but Skroce’s is already very consistent and appropriately Ditko and McFarlane influenced.  The very dark shade of red Bob Sharen is using on the costume also works well; I think we’re only now getting to the point where colorists are free to do more than just basic colors on the costume.  Skroce and LaRosa are emphasizing the dark areas of Spider-Man’s costume, so going for a darker red works perfectly.  Honestly, in retrospect, this reads as if it should’ve been the start of a solid run.