The Amazing Spider-Man Annual 1 Presents a Feminist History

by Drew Baumgartner

Amazing Spider-Man Annual 1

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Pixar

As a kid, I always suspected the inanimate objects in my life had secret lives of their own. It wasn’t so much that I thought they got up and walked around when I wasn’t looking, but that they had feelings and aspirations and friends that they cared about. That was the bit about Toy Story that really hit me when it came out — that my toys were desperate for my love and attention, and they felt neglected when I turned my attention elsewhere. Worrying about the feelings of inanimate objects speaks to some of my most well-worn neuroses, but I’d defend those early experiences as helping me practice sympathy for other humans. I hesitate to call Toy Story a feminist history, since the marginalized perspective it adopts is entirely fictional, but it certainly has the shape of a feminist history, cuing us (or, at the very least, eight-year-old me) into the heretofore ignored plight of children’s toys. (To be clear: “feminist history” isn’t the history of feminism, but feminist approaches to history — approaches that highlight otherwise overlooked perspectives and narratives in history.) With Amazing Spider-Man Annual 1, Saladin Ahmed and Garry Brown achieve something similar, retelling the classic arc “Alien Costume Saga” from the perspective of the Venom Symbiote. Continue reading

Finding Strength in Others in The Amazing Spider-Man 800

by Spencer Irwin

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Spider-Man has one of the most iconic, expansive, and enduring supporting casts in all of superhero comics, and that’s a fact Dan Slott has used to his advantage throughout his long tenure on The Amazing Spider-Man. He especially leans on his supporting cast in issue 800, the penultimate issue of his run and the grand finale of “Go Down Swinging.” It’s an issue all about the power of the people in Peter Parker’s life, be it the power he gives them, or the power they give him. Continue reading

The Burden of Tomorrow in Peter Parker: the Spectacular Spider-Man 303

by Taylor Anderson

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

More so than most superheroes, Spider-Man knows just how much of a sacrifice it takes to use his powers for good. In fact, the very reason he decided to become a hero at all revolves around the loss of his Uncle Ben. The list of hits doesn’t end there, though: Gwen Stacy, Aunt May, and and the sometimes friendly Osborns have all died at some point or another due to Spider-Man. This means that he’s a character as much defined by his tragic circumstances as he is by his superpowers, which begs the question: if he knew how terrible it is to be Spider-Man, would Peter Parker choose to be him anyway? Continue reading

Peter Parker Sacrifices Action in Spectacular Spider-Man 297

by Patrick Ehlers

Peter Parker The Spectacular Spider-Man 297

This article contains SPOILERS! If you haven’t read the issue, proceed at your own risk.

Peter spends the majority of Peter Parker: The Spectacular Spider-Man 297 out-smarting, out-punching, and out-maneuvering both the NYPD and S.H.I.E.L.D. Agent Mintz. And he does it all while being underpowered and trying to keep his identity a secret. It’s the kind of Spider-Man story that wordlessly plays in the fantasies of Spider-Man fans — scrape after scrape, close-call after close-call, until he finally escapes. It’s thrilling, wonderful stuff. Writer Chip Zdarsky and artist Adam Kubert use this issue to set up these thrilling heroics as the stakes of this arc, rather than the actual substance thereof. Continue reading

Parker Luck Returns in The Amazing Spider-Man 789

by Drew Baumgartner

Amazing Spider-Man 789

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Here’s a question: What would you say is the platonic public perception of Spider-Man in the Marvel Universe? Never mind the exceptional circumstances of specific story arcs, do we imagine in general that the public sees Spider-Man as a hero, or do we think J. Jonah Jameson’s one-man crusade against him has influenced public opinion? I suppose I’ve always seen him as misunderstood by the general public, but his interactions with individual New Yorkers always seemed positive — there’s not a whole lot of ambiguity when you see him rescuing babies from burning buildings. Maybe it speaks to just how street-level Spider-Man has traditionally been that his sphere of personal influence would be small, but it sure seems like the citizens of Spider-Man’s New York are on the whole easily swayed by the media they consume. That’s probably an evergreen theme, but it’s one that feels particularly relevant in our modern political climate, and one that comes back in a decidedly unexpected way in Amazing Spider-Man 789. Continue reading

The Amazing Spider-Man 28

Alternating Currents: Amazing Spider-Man 28, Drew and Spencer

Today, Drew and Spencer are discussing The Amazing Spider-Man 28, originally released July 7th, 2017. As always, this article containers SPOILERS.

Drew: When we’re frustrated with superhero comics, we’ll sometimes blame the serialized format for robbing endings of any tension (or even mocking the very idea of “endings”) — as much as a given comic may try to convince you of the danger its hero is in, we all know they’ll be back to fight again next month. And actually, genre conventions are much more prescriptive than that, generally insisting that the villain also live to fight again (though maybe not until the hero has cycled through the rest of their rogues gallery). I added the caveat of “when we’re frustrated,” because I ultimately don’t think anyone’s assessment of a story comes down to how rote certain genre conventions are — predictable stories can be great, and unpredictable ones can be terrible — just that we might misidentify (or overemphasize) “predictability” as the reason for disliking a given story. Writer Dan Slott may be most famous for throwing those presumptions out the window, but Amazing Spider-Man 28 reveals just how adept he is at making even the most familiar genre conventions feel exciting. Continue reading

The Amazing Spider-Man 25

Today, Spencer and Patrick are discussing The Amazing Spider-Man 25, originally released March 15th, 2017. As always, this article containers SPOILERS.

Spencer: As Aunt May herself points out this week, Peter Parker’s always been a busy guy. Add running a major international company to his already impressive pile of responsibilities and it’s almost guaranteed that something will start to give. The massive Amazing Spider-Man 25 digs into that dilemma from all angles, reminding readers of every task Peter’s got on his plate and what’s at risk if he fails at any one of them. It’s an almost overwhelming issue, a trait that effectively puts readers in Peter’s overstressed shoes. Continue reading

Howard the Duck 11

howard-the-duck-11

Today, Spencer and Taylor are discussing Howard the Duck 11, originally released October 12th, 2016. As always, this article contains SPOILERS.

Spencer: On her twitter, Gail Simone recently discussed something she calls the “Batmobile Effect.” In short, it’s the exhilarating feeling a creator gets when they realize they’re working on a comic icon, on a character they grew up adoring and now, all of a sudden, are in charge of. That feeling right there describes much of the appeal of writing for Marvel or DC — the downside, of course, is that you never truly “own” a character. At the Big Two there’s only so much a writer can change a character because, when their run is over, it has to go right back into the “toy box” for another creator to use.

Howard the Duck 11 brings Chip Zdarsky and Joe Quinones’ run to an end, and the two show an exquisite understanding of how to handle a work-for-hire ending. Zdarsky and Quinones have truly made Howard their own, yet leave the character in better condition than when they found him, leaving the door open for future creators to try their hand at Howard as well. It’s a skill their in-story counterparts, Chipp and Jho, never quite grasp. Continue reading

The Clone Conspiracy 1

Alternating Currents: Clone Conspiracy 1, Drew and Spencer

Today, Drew and Spencer are discussing Clone Conspiracy 1, originally released October 12th, 2016. As always, this article containers SPOILERS.

The ship wherein Theseus and the youth of Athens returned had thirty oars, and was preserved by the Athenians down even to the time of Demetrius Phalereus, for they took away the old planks as they decayed, putting in new and stronger timber in their place, insomuch that this ship became a standing example among the philosophers, for the logical question of things that grow; one side holding that the ship remained the same, and the other contending that it was not the same.

Plutarch

Drew: The Ship of Theseus, as this thought experiment is commonly known, is often used in science fiction to address the notion of personal identity — that is, how much of you has to be, say, cybernetic before you are no longer yourself — but I actually think the key to the problem Plutarch laid out is that the ship isn’t a person. The question of whether or not a partially-replaced thing could be called the same thing is an interesting question, but I’m less inclined to think that a person’s identity is tied up in the provenance of their body parts. Moreover, I doubt anyone would assert that someone who receives a liver transplant is even a little bit a different person (especially since our livers are constantly replacing old cells, and best estimates suggest a full turnover of liver cells happens every 1-2 years). I’d suggest that the inverse is also true: that someone’s identity can change without changing their bodies at all (besides their liver, obviously). Point is, identity is much more complex than the simple summation of our body parts. For colloquial evidence, we need look no further than Dan Slott’s work with Spider-Man, where characters’ identities might inhabit other characters’ bodies (or octo-bots) without any real questions about who is who. That’s not to say issues of bodies and identity can’t get messy, just that it takes something a little extra to take us there — something like Clone Conspiracy. Continue reading

Spidey 1

spidey 1Today, Spencer and Drew are discussing Spidey 1, originally released October 2nd, 2015.

Spencer: I’m pretty sure Spider-Man is the reason I’ve become sick and tired of origin stories; two different Spider-Man movies retelling the 3rd most famous origin in all of comics within the same decade is enough to turn anyone off origins. Robbie Thompson and Nick Bradshaw’s Spidey is smart enough to cut that origin down to a single page and move onto more interesting things, but it’s still caught up in one of the greatest issues plaguing all retellings and reboots; this is just a story I’ve seen a million times before. Continue reading