SPIDER-MAN TEAM-UP #6 - March 1997

Breaking and Entering!

Credits:  Larry Hama (writer), Dietrich Smith (penciler), Sean Parsons (inks), Tom Smith (colors), Bill Oakley (letters)

The Plot:  Spider-Man passes by Avengers Mansion as the Hulk is breaking in and fighting his way past SHIELD’s forces.  As Spider-Man tries to subdue the Hulk, Aquarian arrives, proposing a peaceful resolution to the conflict.  Suddenly, the trio realizes that a Doombot is also in the mansion, downloading all of the Avengers’ information and sending it to Latveria.  They destroy the Doombot, but not before it successfully completes its mission.  Luckily, a SHIELD Life Model Decoy inserted a virus into the database as it was being downloaded, corrupting the information and Latveria’s power grid.

Web of Continuity:  This story takes place when the Avengers, and Dr. Doom, are assumed dead following Onslaught’s attack on New York.  SHIELD now oversees the mansion.  The Hulk is invading Avengers Mansion to gain access to Tony Stark’s database, which he believes has information that can save his life (he’s dying after being split from Bruce Banner in Onslaught: Marvel Universe.)

Miscellaneous Note:  The indicia on the first page list the previous year.  The cover date is accurate.

Review:  Because one gratuitous quarterly Spider-Man filler comic wasn’t enough in the ‘90s, the fates brought us Spider-Man Team-Up.  I’ve never read an issue of it before, and I only recall one reference to the series after its cancellation: Mark Waid once joked in an interview that the only comic he ever wrote for the money was Spider-Man Team-Up #1.  

I remember this book as yet more product pumped out during the Clone Saga, but it actually survived for two more issues after Peter Parker’s return.  This issue is written by Larry Hama, during his days of random Marvel assignments like Venom and Howard the Duck specials.  I don’t know if he had any say over the guest stars, but I would be curious to know if he genuinely wanted to bring in Aquarian (or “Wundarr the Aquarian” as he’s officially known).  Aquarian was apparently created as a parody character during the flower child days, and it’s hard to imagine why anyone would want to use him as another other than a joke.  Hama plays it straight, though, working in some of Aquarian’s hippie philosophy and giving him a few scenes to show off his powers.  He adds essentially nothing to the plot, but I guess if you genuinely like the guy, there’s nothing offensive here.  

Regarding Spider-Man and the Hulk, there are a few decent action scenes between them, although Spider-Man’s justification for entering the story is the tired “just happened to be swingin’ by” set-up, which was already pretty old ten issues into the original Marvel Team-Up.  Probably the best moment in the story is the introduction of the Doombot, which is given a pretty creative means of sneaking into the mansion.  The twist ending is also amusing, although it apparently establishes that the Avengers’ entire database has been destroyed, which I doubt stayed in continuity.

Lost Souls

Credits:  J. M. DeMatteis (plot), Marv Wolfman (script), Bob McLeod (breakdowns), Tom Palmer (finishes), Tom Smith (colors), Bill Oakley (letters)

The Plot:  Dracula pulls a young woman named Raynee out of the crowd in a ballroom.  Later, the police investigate a mass murder inside.  Peter Parker takes photographs and runs into Dr. Strange, who’s also investigating.  Strange later informs Peter, while as Spider-Man, that Dracula is the culprit.  Soon, Dr. Strange is incapacitated by Dracula’s astral form, leading Spider-Man to investigate Dracula’s home.  He encounters a peaceful Dracula, and has dinner with him and Raynee.  Eventually, Strange frees himself, as Spider-Man discovers Dracula’s true nature.  Strange imprisons Dracula and reveals that Raynee is actually a golem created by Dracula to soothe his loneliness.  Dracula escapes, vowing vengeance on the heroes.

Web of Continuity:  This story is treated as the first time Spidey discovers there is an actual Dracula.  I don’t know if that fits with any established Dracula stories, but I’m assuming it’s something Marv Wolfman wouldn’t get wrong.  Spider-Man does briefly forget that Dr. Strange knows his secret identity, though.

I Love the ‘90s:  References include the approaching millennium, The X-Files, and the Macarana.  Spider-Man also spells out a web address with a “www///” leading me to believe someone got “http://” mixed up with “www.”.

"Huh?" Moment:  For some reason, Dracula waited six months to return to the ballroom and commit the murders, or it took six months for the police to discover them.  Either way, I don’t understand why the prologue is set six months in the past.

Review:  Bizarrely, this is not the lead story.  At the very least, the reunion of Marv Wolfman and Tom Palmer on a Dracula story should’ve been hyped, even if that has nothing to do with Spider-Man.  And while it’s obvious the creators wanted to do a Dracula story first and kind of backed into a way to fit it into this book, Spider-Man’s role doesn’t come across as obviously superfluous.  (He is superfluous, just not obviously so.)  His job as a photographer gives him an organic introduction into the story, and he works as a sort of “average Joe” commentator on the supernatural elements.  As Spider-Man’s first meeting with Dracula, however, there’s not much here.  Dr. Strange and Dracula look great, yet Spider-Man’s off-model (McLeod’s interpretation of the post-McFarlane giant eyes always looked wrong to me.)  The story’s main focus is on setting up a Dr. Strange and Dracula rematch, with Raynee added as the human element.  On that level, it’s a decent read.  Spider-Man’s a fun interloper, but he’s clearly not the star. 

WEB OF SPIDER-MAN #12 - March 1986

Have You Seen That Vigilante Man!

Credits: Peter David (writer), Sal Buscema (breakdowns), Bob McLeod (finishes), Rick Parker (letterer), Bob Sharen (colorist)

The Plot: Peter learns the incendiary device mainly caused smoke damage. After a rival newspaper gives Peter a $1,000 prize for his heroism, Jonah Jameson overrides Robbie Robertson and puts Peter’s story on the front page. Peter impetuously spends the money to get ahead on rent to placate his obnoxious landlord. Peter has the three thugs arrested, but they’re bailed out by Hector, the hitman brother of the gangleader. Hector declares that he’s going to kill Peter Parker. When the thugs realize they would be considered accomplices in Peter’s death, they race to his apartment to stop Hector. Spider-Man deals with Hector, then changes back into Peter. He decides to drop charges against the thugs, leading his neighbors to turn against their hero.

The Subplots: None.

*See _________ For Details: While identifying his harassers, Peter asks the Assistant DA about a gang case involving someone who “looks like a cross between Michael Jackson and Prince.” A footnote points toward Peter Parker annual #5, which stars Ace.

I Love the ‘80s: Peter remarks that his clothes will have to last a long time…“like until 1993.”

Review: Danny Fingeroth is apparently gone, but don’t get the crazy idea that Peter David is the new writer. This is still Web of Spider-Man, the title that has a strong allergic reaction to anything resembling a stable creative team. David continues the storyline, getting some more laughs out of the idea and raising the stakes to even more ridiculous degrees. The only real glitch from one issue to the next is the portrayal of the hitman, Hector. In the previous issue, he was a brooding, tormented man who warned his brother to stay away from a criminal lifestyle. Here, he’s more of an archetypical hitman character who decides that he wants Peter Parker dead for having the gall to inconvenience his brother. Soon, he decides that he’ll just kill the next person to walk through the door, which happens to be MJ. I’m not sure where Fingeroth was going with the character, but David (or perhaps the editor influencing the story) decides to use him as a straightforward villain for the issue’s climax. This doesn’t exactly work, and it feels as if Hector is brought in to make this atypical story a little more normal.

I also have issues with the ending. If all the thugs did was harass Peter Parker, having him drop charges in the hopes they’ll reform could be acceptable. However, they were introduced as potential rapists in the last issue, and this issue makes it clear that the immigrant woman they victimized is too terrified to testify against them. The neighbors accuse Peter of being self-centered and irresponsible for letting the criminals go, and they’re absolutely right.

So, the ending has problems, but David still gets mileage out of the concept. Before Peter manages to turn the neighborhood watch against him, he realizes that he’s getting praised for stopping crime as Peter Parker, while Spider-Man is vilified for doing the same things. He could just drop the Spider-Man routine, help people as Peter Parker, and make money as the head of a security force. We all know the story can’t go in that direction, but it’s realistic for Peter to consider the possibilities. The local hero angle is also explored at the Daily Bugle offices, as Jonah places his newfound surrogate son on the front page, partially to upstage the rival newspaper that gave Peter reward money. Peter doesn’t know how to deal with positive press in the Daily Bugle (an idea Gerry Conway will explore years later), and his abrupt refusal to have lunch with the staff doesn’t leave him in anyone’s good graces for long. At the story’s end, as MJ is quick to remind him, Peter’s exactly where he started (only now, his apartment has massive smoke damage). It’s “the ol’ Parker luck” again, but it’s delivered in a creative way we haven’t seen before.

WEB OF SPIDER-MAN #11 - February 1986

Have You Seen That Vigilante Man!

Credits: Danny Fingeroth (plot), Bill Mantlo (script), Bob McLeod (art), Phil Felix (letterer), Bob Sharen (colorist)

The Plot: After Peter Parker stops an attempted rape at a laundromat, he’s declared a local hero. Against his wishes, the community starts “Peter Parker Patrols” to monitor the neighborhood. The three thugs from the laundromat begin vandalizing his apartment, forcing Peter to intimidate them as Spider-Man. After Peter asks MJ and Flash Thompson for advice, he returns home to see smoke coming from his window.

The Subplots: MJ is worried that knowing Peter’s secret ID is bringing her too close to him (didn’t she regret turning down his proposal just a few issues ago?). Peter comments that Flash no longer thinks he’s seeing his girlfriend, Sha Shan, behind Flash’s back. That’s the first time this subplot has been referenced in this title.

Forever Young: Peter and Flash talk about their long-ago days of high school.

Creative Differences: Peter’s conversation with Flash appears to be re-lettered. It certainly isn’t Phil Felix’s work.

Review: This is a nice two-parter with a clever premise. Every so often, you’ll see Peter Parker forced into stopping crime in his civilian guise, but I don’t think any story ever dealt with the repercussions of what would likely happen afterwards. The last thing Peter wants to do is draw this kind of attention to himself, which is exactly what happens. And while the local patrols are unable to stop the thugs from breaking into his home, they’re persistent enough to guard the skylight he uses to go in and out as Spider-Man. Watching Peter’s friends react to his newfound celebrity is also entertaining, as Robbie Robertson wonders if Peter is somehow endorsing vigilantism. Imagine that. The scene with Flash Thompson is interesting, as Flash refuses to acknowledge that he ever acted as a bully. His stance is that Peter distanced himself from the other kids and that Flash was only giving him a “razz.” I can see this working as Flash’s personal justification for his behavior, but it’s odd that Peter just seems to accept it. Peter only distanced himself from the others after he became Spider-Man, out of sheer necessity. Amazing Fantasy #15 makes it very clear that Peter wants to be close to the other kids, so Flash’s argument has a giant hole in it. At any rate, this is a strong start for the story, even as the book remains unable to keep a consistent creative team. Bob McLeod pencils and inks this issue, and turns in a great job, reminiscent of Mike Zeck’s work.