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