Volume
August 2023
EDITOR-IN-CHIEF
Michael Eury
PUBLISHER
John Morrow
DESIGNER
Rich Fowlks
COVER ARTIST
Dusty Abell
COVER DESIGNER
Michael Kronenberg
PROOFREADER
David Baldy
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Marvel Comics
David Michelinie
Allen Milgrom
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John Schwirian
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FIRST PRINTING
Several of the earliest foes of Spider-Man are based on a totem animal, like the Wall-Crawler himself, and can be split into two main categories: the robbers (the Scorpion, Electro, the Vulture) and the scientists gone wrong (the Lizard, the Green Goblin—even if he started more as a crook before his unmasking— and Doctor Octopus).
Spider-Man co-creator Stan Lee explained this totemic aspect during a convention in 2017: “I’m always looking for some animal or fish or bird that would make a good villain. (…) And Doc Ock, it occurred to me that an octopus with a lot of tentacles, that would be pretty scary. So that was all. It was as simple as that.”
Peter Parker is a scientist himself like Curt Connors (the Lizard), Otto Octavius (Doctor Octopus), and Norman Osborn (Green Goblin). His link with this type of villain has always been more direct, with higher stakes, because of those villains’ connections with Peter while they were antagonizing Spider-Man. Fights against the Lizard have always had a special edge because Connors’ family was very often part of the story. As for the Green Goblin, each appearance post–The Amazing Spider-Man #39 (Aug. 1966) has had a dramatic impact for Spider-Man and his loved ones.
When it comes to Doctor Octopus and SpiderMan, though, their enmity has almost always been personal because the majority of their Silver and Bronze Age confrontations involved someone close to the Web-Spinner. After the Bronze Age, and especially in recent years, things would become personal at a “superior” level.
Through the history of both characters, it would frequently feel like Parker and Octavius could very well be two sides of a coin, as one-time ASM writer/editor Marv Wolfman explained in Spider-Man Chronicle: Celebrating 50 Years of Web-Slinging: “Doctor Octopus shared many traits with Peter Parker. They were both shy, both interested in science, and both had trouble relating to women. … Otto Octavius even looked like a grownup Peter Parker. Lee and Ditko intended Otto to be the man Peter might have become if he hadn’t been raised with a sense of responsibility.”
One could also view that their origin stories are similar: a lab accident gone wrong, with positive consequences on one side and negative ones on the other.
PERSONAL, RIGHT FROM THE START
Doctor Octopus’ first appearance ( ASM #3, July 1963; see inset at left) is an origin story concluding with a Spidey victory. The initial defeat Webhead suffers from his first encounter with Ock started the “Is this the end of Spider-Man?” trope.
In Doc Ock’s second appearance ( ASM #11, Apr. 1964), Doctor Octopus is connected to the murder of Bennett Brant, brother of Betty Brant, the girlfriend of Peter Parker at the time. This would be the first case of Ock’s actions creating a rift between Peter and one of his girlfriends. The pattern would reemerge in the future.
The following issue ( ASM #12, May 1964) has Doctor Octopus abducting Betty once more—and more importantly, Octopus unmasking Spidey. Peter was weakened by a virus during this fight, so nobody “bought” that this weakling teenager could be Spider-Man—a close call for our hero.
Later on, Doc Ock once again kidnaps Betty, along with Peter’s Aunt May, during the first gathering of the Sinister Six (ASM Annual #1, Oct. 1964). This story sets up the first connection between Doctor Octopus and Aunt May, who finds Octopus “charming.”
In the classic Master Planner three-parter, Doctor Octopus is the villain to beat to save a dying Aunt May (ASM #31–33, Dec. 1964–Feb. 1966). This storyline is viewed by many as one of the greatest Spidey stories of all times: “The ‘Master Planner’ trilogy hits on every level,” explained Marv Wolfman in Comic Creators on Spider-Man (Titan Books, 2004). “Peter is trying to save Aunt May, and is trapped beneath this mountain of debris. It is an internal story that really
When Otto Met May
(top left) The Amazing Spider-Man #54 (Nov. 1967) furthers Aunt May’s attraction to Doc Ock. Cover by John Romita, Sr. (top right) Spidey’s up in arms when his beloved aunt walks down the aisle with his diabolical foe in ASM #131 (Apr. 1974).
Cover by Gil Kane and Frank Giacoia. (bottom) The Ock/May relationship occasionally made the syndicated Amazing Spider-Man comic strip, like this Lee/Lieber daily from February 14, 1981. Original art courtesy of Heritage.
makes you care about the characters. Superhero comics are not about sophisticated ideas, they’re about emotional responses.” In Roy Thomas’ 75 Years of Marvel (Taschen, 2015), Robert Greenberger gave it an even broader view as he described the classic “Spidey under tons of debris” opening sequence of ASM #33: “These first five pages are a modern-day equivalent to Shakespeare, as Parker’s soliloquy sets the stage for his next action. And with dramatic pacing and storytelling, Ditko delivers one of the great sequences in all comics.”
A DRAMATIC TURN IN THE SILVER AGE
After Ditko’s departure as the artist of The Amazing Spider-Man, Octopus continues to pop up regularly. He moves into Aunt May’s boarding house during the “Tentacles and the Trap” arc (ASM #53–56, Oct. 1967–Jan. 1968), a story that paves the way for the strange relationship Otto Octavius and May Parker have to this day. Stan Lee wrote those stories with very goofy dialogues, presenting May as either a very gullible or naïve person. But this relationship created a very tense situation in the book with a bigger feeling of danger. The fight taking place in May’s house in ASM #54 is a typical example of Spider-Man having to deal with two situations at once: fighting against the bad guy and protecting his aunt, a second pattern that will be another Spider-Man classic. Doc Ock temporarily wipes Spider-Man’s memory with a device called the Nullifier, and cleverly tricks Spidey into being his partner in crime for a while.
Doctor Octopus would not reappear for the next two and half years, but his return in the early Bronze Age, in ASM #88–90 (Sept.–Nov. 1970), is a dramatic one. During a fight, his mechanical arms shatter a chimney, and its debris are about to crush a young child. Captain George Stacy—Gwen Stacy’s father— valiantly saves the child but gets hit by falling debris
and dies shortly after. Doc Ock’s actions wedge a gap between Peter Parker and his girlfriend as Gwen blames Spidey for her father’s death. This story is a major defeat for Spider-Man since he loses the fight— and more importantly a big supporter and father figure in Captain Stacy.
THE OCTOPUS AND HAMMERHEAD SHOW
Things go into an interesting direction when Gerry Conway becomes the new writer of Amazing SpiderMan starting with issue #111 (Aug. 1972). Doctor Octopus is seen for the first time since the death of Captain Stacy in issues #112–115 (Sept.–Dec. 1972), in a titanic clash between Ock and new villain Hammerhead… with Spidey caught in the middle. This fight remains on the personal side, with Aunt May serving as caretaker of Doc Ock’s house and eventually choosing to stay in Otto’s house after his defeat to “keep it in order.” May quietly thinks her nephew Peter no longer needs her, but “Dr. Octavius… does.” She is also part of the fight between the two antagonists and issue #115, shows the first
May Day
(left) After Doc Ock makes his first Bronze Age appearance, (right) he further complicates the Wall-Crawler’s life by becoming involved with Aunt May. Covers to Amazing Spider-Man #89 (Oct. 1970) and 115 (Dec. 1972) by John Romita, Sr.
A FRAGILE PSYCHE
Fantastic Four #267 (June 1984) is one of the most significant Doctor Octopus appearances of the 1980s. Susan Richards is pregnant with her second child, who was conceived in the Negative Zone. It appears that radiation is poisoning both Sue and her unborn child. Reed Richards has assembled a team of scientists composed of Bruce Banner (the Hulk), Walter Langkowski (Alpha Flight’s Sasquatch), Michael Morbius (the Living Vampire), and himself to try and cure them. Langkowski believes that since Otto Octavius is an expert on radiation, he is the best person to help Sue. Reed then visits Octopus in the psychiatric institution where he’s recovering. Octopus agrees to help Richards, but on the way Ock regains his mechanical arms and both engage in a fight eventually won both psychologically and physically by Richards. Both scientists reach the hospital, only to find out that are too late, and that Sue had a miscarriage shortly before their arrival.
Writer/artist John Byrne depicts a different kind of Doctor Octopus in this story, paralleling him more with the likes of Hulk and Morbius, characters who could sometimes be good or bad, who have become villains because of an accident and not by nature. As Byrne summarized on his online forum: “Otto Octavius as created by Lee and Ditko is a brilliant scientist twisted by ‘cruel fate.’”
We see the consequences of Octopus’ phobia during his next appearance in Web of Spider-Man (WoSM) #4 and 5 (Aug. and Sept. 1985). In the first part, we see Doc Ock having nightmares of his defeats by Spider-Man. His turmoil wakes up his extra arms, and he is reunited with them. The final page presents Octavius with a choice: be a scientist and help others, or inspire fear. He chooses the latter and thinks that the death of Spider-Man will cure him of his psychiatric situation. WoSM ’s creative team of writer Danny Fingeroth and artists Greg LaRocque and Vince Colletta creates an interesting bridge between several key moments in Octopus’ life. In the following issue, Octopus trains against a SpiderMan robot and strategizes his next nefarious plan. Eventually he encounters the real Spider-Man, but once he realizes he is not fighting a Spider-Man robot, he reverts to a catatonic state.
DOCTOR OCTOPUS RETURNS
After the media-hyped marriage of Peter Parker and Mary Jane Watson [see BI #23 and 123—ed.], David Michelinie had a second task to perform as the new writer of Amazing SpiderMan: release Doctor Octopus from his mental breakdown and reinstall him as one of the most dangerous Spider-Man villains. It had been more than two years since Ock’s last appearance, and it was time to move on to a new era with this classic Spider-Rogue. And that is what ASM #296 and 297 (Jan. and Feb. 1988)—with art by Alex Saviuk and Vince Colletta—are all about. Michelinie explains to BACK ISSUE, “The ‘fear’ storyline was generated in Spectacular Spider-Man #79, before I started writing Amazing so I had nothing to do with generating that conflict. It may have been the editor’s request for me to tie up that storyline, or I may have just thought Doc Ock would make a better long run villain if he didn’t freeze whenever he saw Spider-Man.”
The story deals once again with the consequences of PPTSS #79 and how Octopus is having nightmares of his previous fights against Spider-Man. Like in WOS #4, his dreams “wake up” his extra arms, which are kept in a separate location. The arms escape and reunite with Doc Ock. The two opponents meet, and Octopus goes catatonic once more. But this time his arms go on a rampage and attack Spidey, who manages to escape. Octopus then
Headline Hog
(top) Ock’s telescoping arms often present great offpanel cover poses, like this one on John Byrne’s cover to Web of Spider-Man #4 (July 1985). (bottom) The newly liberated Octavius, in writer Bill Mantlo’s PPTSS #72 (Nov. 1982). Original art by Ed Hannigan, Al Milgrom, and Rick Magyar. Courtesy of Heritage.
When Spider-Man first hit the comic-book scene in 1962, creators Stan Lee and Steve Ditko quickly introduced a murderer’s row of some of the greatest villains to ever grace a comics page. However, even though Spidey has arguably the best Rogues’ Gallery in Marvel Comics, he’s also battled some… let’s say, not-quite A-listers. And to be honest, some of them may have a hard time hitting the B-list.
Join BACK ISSUE as we look at the could’a-been-a-contender crowd of Spider-Rogues that only a mother could love.
THE KANGAROO
Spider-Man’s list of animal-themed villains could practically fill a zoo. However, not all these villains were created equal. Take, for instance, the Kangaroo, who first bounced on the scene in The Amazing SpiderMan #81 (Feb. 1970). His only powers (if you can even call them that) were that he could jump (really high) and kick really hard.
Can you guess where he got these abilities? Wrong, he wasn’t kicked by a radioactive kangaroo. But Australian Frank Oliver was fascinated by the creatures, so he “lived in kangaroo country— eating what they ate—going where they went—working—training.” He basically got his power from hanging out with the kangaroos and doing what they did.
He used his newfound abilities in a short-lived boxing career. It was short-lived because in his first match, Oliver kicked his opponent so hard it almost killed him. Oliver went on the lam and ended up in New York City. Kangaroo held up an armored car, but instead of money, he found a vial of deadly experimental bacteria. Not wanting to leave empty-handed, Oliver took the vial. Spider-Man was able to locate Kangaroo and save the vial before it could be broken.
Oliver managed to escape his encounter with Spidey. This wouldn’t be their last meeting, as they fought again in ASM #126 (Nov. 1973), written by Gerry Conway with pencils by Ross Andru. Oliver had enlisted the services of Jonas Harrow to enhance his abilities. In return, Oliver was tasked with stealing a radioactive isotope. Spider-Man attempted to spoil the theft, but was overwhelmed by the now more-powerful Kangaroo. Even though he overpowered Spider-Man, Oliver perished because he didn’t properly protect himself from the radiation.
Conway tells BI why he brought the Kangaroo back: “I loved the silliness of that character. Stan had these kind of one-power characters that seemed useless in the larger sense. The Kangaroo’s basic skill set was that he could jump. That to me was pretty funny. I’ve always liked what I consider the groundlevel villains. Characters like the Kangaroo who are menacing, they’re not without danger, but they are definitely a low-key threat to the city at large. Basically, villains that have an impact on the hero that don’t really threaten large-scale problems.”
Oliver wasn’t the only person to take on the Kangaroo identity. Brian Hibbs, created by Marc McLaurin and Scott Benefiel, first appeared in Cage #13 (Apr. 1993) before writer J. M. DeMatteis and artist Luke Ross had him take on the mantle of the Kangaroo in Spectacular Spider-Man #242 (Jan. 1997). Hibbs was inspired to become a costumed criminal by Oliver, so it was only natural for him to take on the role of the Kangaroo. However, like Oliver before him, Hibbs was easily defeated by the Webbed Wonder.
Why did DeMatteis decide to bring back the Kangaroo? “I chose him because he was so odd. One of Spidey’s silliest antagonists.”
THE GIBBON
Stan Lee and John Romita, Sr. premiered another not-so-spectacular Spider-Rogue in ASM #110 (July 1972). This was the first appearance of Martin Blank/the Gibbon, a mutant who had an ape-like appearance. He joined the circus and took on a furry costume to enhance his already simian features. While in the circus, he honed his acrobatic skills.
“The origin of that character was that Stan had been at a zoo in New York, either the Bronx Zoo or the Central Park Zoo, and saw a
He’ll ‘Roo’ the Day
by Ed Lute(inset) John Romita, Sr.’s cover for Amazing Spider-Man #81 (Feb. 1970), premiering the hopping-mad Kangaroo. (above) Courtesy of Heritage Auctions (www.ha.com), original art to an alternate version of the cover. Note how Romita changed Spidey’s posture to a front-view, in-action pose in the published version.
gibbon. He thought it would make for an interesting villain. A guy would get the strength and agility of a gibbon,” reveals Conway.
Blank originally wanted to join Spider-Man on his superheroic adventures because he felt a kinship with the Wall-Crawler due to their similar acrobatic skills. However, the ever-sensitive superhero laughed at Blank’s suggestion. Of course, this angered him, so instead of working for good, Blank took on the moniker of the Gibbon and became an adversary instead of an ally.
Blank eventually teamed up with Kraven the Hunter, who saw Blank as someone that he could manipulate to his own ends. Kraven even provided the Gibbon with an herbal potion that enhanced his strength. He was actually able to defeat Spider-Man, but snapped out of his drug-induced stupor before he killed him.
Lee and Romita may have created the Gibbon, but Conway completed the three-part story that introduced him. He states, “I inherited that story and most of it was plotted by John Romita since he had initiated the story with Stan, so I was basically following their lead on that one. The Gibbon didn’t seem to offer many possibilities to me as a writer, but bringing Kraven into it helped to raise the stakes in the story. Kraven is a much more deadly villain.”
THE MINDWORM
Lest readers think that only Stan the Man and Jazzy Johnny were involved with creating Spidey’s B- and C-listers, along came Conway and artist Ross Andru with the Mindworm, who debuted in ASM #138 (Aug. 1974). William Turner was a mutant who needed to feed off of the psionic energies of others. In an orphanage, he was given the name of Mindworm for his enlarged cranium and abilities. Due to his looks, Turner became a loner as an adult. He was a neighbor to Flash Thompson, which brought him into contact with Peter Parker. However, due to his enhanced abilities, Spider-Man was able to fight off the Mindworm’s psionic touch, enabling him to knock out Turner.
Conway relates, “The intention was it was a oneissue story with a recluse. He was kind of based a little bit on Boo Radley from To Kill a Mockingbird.”
While the Mindworm might not have been one of Spider-Man’s most memorable antagonists, the house
he resided in was. “That was a story that had disastrous consequences for Marvel,” Conway reveals to BACK ISSUE. “Ross Andru drew the house based on an actual house that he had seen in Far Rockaway, [Queens,] New York. The problem was that house was easily identifiable, and people started going up to the house asking if the Mindworm lived there. The owners of the house became so upset that they threatened to sue Marvel. We had to make an announcement in the letters page that there was no resemblance to the house or something like that. At that point Ross got ordered to be very careful in the future not to use specific identifiable locations. He had to change things sufficiently so that they couldn’t be identifiable.
“Ross loved to take photographs of places and use them as reference,” Conway continues. “He even did that in Manhattan at my apartment. We went up on the roof of my building and he took photos of different rooftops so that Spidey could have specific places to swing over on his web. He did do that a lot. He was so good at capturing that, but in this case it backfired because it was a private location rather than a public one.”
The Mindworm finally saw the error of his ways in Spectacular Spider-Man #35 (Oct. 1979) and renounced using his abilities to harm others. Unfortunately, his struggle with mental illness got the better of him and he allowed himself to be killed by thugs in Spectacular Spider-Man vol. 2 #22 (Feb. 2005).
GRIZZLY
Conway is one of the greatest writers to get his hands on the Wall-Crawler, and Andru was a long-running artist on the book, but that doesn’t mean that everything they touched turned to gold. Enter the Grizzly, who first appeared in ASM #139 (Sept. 1974). Maxwell Markham, a former professional wrestler who lost his license to wrestle after his vicious maneuvers were revealed in a Daily Bugle editorial by J. Jonah Jameson, wanted revenge on Jameson and obtained a grizzlybear suit that also augmented his strength. The suit was designed and built by the Jackal. Spider-Man saved JJJ and defeated Markham. Markham teamed up with the Jackal in the following issue, but was again defeated by Spider-Man and this time sent to prison.
Conway discusses the creation of the Grizzly: “I think I was just trying to follow in the footsteps of
Things Get Hairy for Spidey
(left) The Gibbon flips over the Wall-Crawler on the Romita/Frank Giacoia cover of ASM #110 (July 1972). (middle) A mind-controlled mob under Mindworm’s thrall attacks Webhead on the Gil Kane/ Romita cover to ASM #138 (Nov. 1974). (right)
Penciler Ross Andru based Mindworm’s home on an actual house in Queens, New York.
Look At Those Choppers!
Spidey vs. the lethal Lizard—who is actually his tormented friend and mentor, Dr. Curt Connors— in a bloodcurdling Copper Age encounter in The Amazing Spider-Man #313 (Mar. 1989).
Art by Todd McFarlane.
TM & © Marvel.
They Hatched the Lizard
(top) Amazing Spider-Man’s Stan Lee and Steve Ditko.
Quick! Who’s that Marvel Comics scientist with an alliterative name? Oh, you know! Usually wears purple pants and if he gets too angry, he sometimes turns green and develops super-strength. In recent years, he’s been in the movies. Oh… come on… wait. What? Who? Bruce? Bruce who? No, no, no, I’m talking about Dr. Curtis “Curt” Connors—the Lizard!
For the longest time, the Lizard was arguably the most sympathetic of Spider-Man’s Rogues’ Gallery. He was a good man looking to make a scientific breakthrough who, instead, accidentally cursed himself.
If anything, the concept of Dr. Connors and his monster was more Jekyll and Hyde than that of the Incredible Hulk, although the Hulk, too, is a character often mentioned in the context of Robert Louis Stevenson’s famous story. There is, however, an added level of poignancy to the story of the Lizard.
A ‘DONE-IN-ONE’ DROP-IN?
The Lizard debuted in the Silver Age as an early Spidey antagonist in The Amazing Spider-Man #6 (Nov. 1963). Although the credits for that issue read, “Written by Stan Lee,” what we know now of the types of characters artist Steve Ditko tended to create, and the way those early Marvels tended to be done, it seems likely that the Lizard was a Ditko creation, with Lee providing his dialogue, as was the usual way of what came to be known as the Marvel Method.
Spider-Man is challenged by J. Jonah Jameson to capture the mysterious human lizard said to be wandering in the Florida Everglades. Jameson decides to go there himself to watch what he secretly hopes will be his nemesis’ defeat, and he takes photographer Peter Parker along to get pics.
Peter has heard of a local doctor named Curt Connors who is an expert on lizards, and after his initial encounter with the scaly green monster in the white lab coat, Spidey decides to pay a call at Doc Connors’ secluded home to possibly get some assistance.
It’s there where he learns that Connors is, in fact, the Lizard. He had lost his right arm in “the War.” It’s not specified, but we’re led to believe by his apparent age, and when the comic came out, that he was in Korea. He’s a decent man, a renowned research scientist, a husband to Martha and a father to Billy. So how did this saint of a man become the raging, scaly, green Lizard… and with two arms?
You see, in the real world, certain species of lizards and salamanders can regenerate lesser versions of their tails should they lose them, and some lizard
See! The Amazing Half-Man Half-Reptile!
(middle left) In his inaugural outing in ASM #6 (Nov. 1963), the Lizard, as drawn by Steve Ditko, more resembles a Florida sideshow attraction than the monster he would become in return appearances.
(middle right) Different Ditko art from the issue was used on the cover of this 12-page reprint, issued in 2006 via the Los Angeles Times . (bottom) An early example of Spidey calling on his scientific wiz pal Dr. Curt Connors. From ASM #43 (Dec. 1966). Art by John Romita, Sr.
tails are actually designed to be expendable, shed in an effort to confound predators while the lizard makes its escape.
An online article by Rob Harris explains the phenomenon better than any other source I’ve seen. Harris writes, “Although scientists don’t completely understand how lizards regenerate their tails, they know lizards are capable of dedifferentiating cells. This means existing cells at the base of the tail, or the base of the break along the tail, revert back to a more primitive cell, similar to a stem cell. These cells can be ‘programmed’ to become the cells necessary to build a new tail, such as a muscle or skin cell. When a break occurs, a cell that might have once been a muscle cell dedifferentiates, waiting for instructions on what kind of cell to become. It then begins to divide into more cells of the necessary type.” Harris goes on to write that the new tails have no new bones and are actually quite different from the originals—a pale imitation, really. And lizards actually cannot regrow limbs in the real world—only the severed or abandoned tails.
Now, salamanders are a different type of amphibious species, and they can generally grow actual replacement limbs. But “Spider-Man vs. the Salamander” just didn’t have the same ring to it, I guess. No, instead, as Mrs. Connors tearfully explains to her costumed visitor, Dr. Curt Connors became the Lizard in his attempt at finding a formula that would regrow his missing right arm. In testing it on himself, Connors managed to successfully replace his absent limb, but only at the expense of his humanity. Like Dr. Jekyll and his experiments, the rampaging Lizard was Mr. Hyde—a powerful, but seemingly toothless, Mr. Hyde.
At first, he tried to create an antidote to his bioregenerative formula, but his mind was rapidly clouding. As early as the following day, he wrote a goodbye note to Martha and then fled deeper into the swamps. “Flee puny humans! This swamp is mine!” he hissed. His fevered brain formulated a vague plot to create a “savage, super-powerful lizard army.”
Fangs a Lot!
(above) Six-armed Spidey tangles with the toothy twosome of the Lizard and Morbius (misspelled as “Moribus” on the cover) on the Gil Kane/Frank Giacoia cover to ASM #102 (Nov. 1971).
This is the sole issue of Amazing Spider-Man published during Marvel’s oh-so-brief 1971 flirtation with an expanded page count and price tag in competition with DC Comics; one month later, Marvel abruptly shifted gears, reduced its page count to the normal 32, and undercut DC’s cover price by five cents.
(left) On the splash of ASM #44, Lee and Romita quickly recap the Lizard’s plight.
In the 20 years following the Jackal’s first appearance, the Jackal was seen in a mere nine issues, with Carrion managing ten, yet these two Spider-Rogues left a legacy that continues to affect the Spider-Verse today.
DON’T STAND SO CLOSE TO ME
When Stan Lee and Steve Ditko introduced Peter Parker’s college chemistry teacher in Amazing Spider-Man #31 (Dec. 1965), they never imagined that Professor Miles Warren would develop into one of the more controversial villains in Spider-Man’s history. Do not confuse Miles Warren with Parker’s high school science teacher, Mr. Warren from ASM #8 (Jan. 1964). The two look nothing alike. However, writers Roger Stern and Kurt Busiek retroactively made the two instructors into brothers in 1997’s Untold Tales of Spider-Man #25 in a tale where Mr. Raymond Warren takes his best science student (Peter Parker) on a tour of Empire State University and introduces the boy to Professor Miles Warren.
Under Stan Lee, Professor Warren appeared infrequently, usually in a single panel to remind Peter of his slipping grades. The professor’s one shining moment is in ASM #53 (Oct. 1967), when he gives Peter two tickets to a science expo and offers to drive him there. Upon hearing about the tickets, fellow science major Gwen Stacy convinces Peter to take her along and Professor Warren states his admiration for Peter’s choice. Several interesting events occur in this issue, which were most likely intended for humorous effect, but take on a more sinister hue when viewed in terms of what will be revealed a few years later. First, the professor catches Peter changing out of his costume in the gym, but only sees Peter climbing down a rope with his “undershirt” protruding from under his clothes. On the ride to the expo, they discuss the Nullifier (a new type of missile defense) that is the centerpiece of the show. Professor Warren comments that it will be “a practical application of the many seemingly unrelated theories we’ve been discussing in class.” Just what are they talking about in chemistry? Of course, the expo is disrupted by Doctor Octopus. Later, after Spider-Man has restored order, and Peter reunites with Gwen and Warren, the professor wonders, “if only [Spider-Man’s] identity could be exposed. What a subject he’d be—for a psychological study. Imagine learning what motivates such a man— altruism or deep-rooted schizophrenia?” Why the hesitation in thought? Did the professor have something else in mind to study? If Stan Lee was building up the professor for a possible plot development, we’ll never know, as Professor Warren only makes two more brief appearances before disappearing altogether for the rest of Lee’s duration on the book.
Send in the Clone
The cackling, conniving Jackal turned up several times during the Bronze Age to give poor Spidey a never-ending headache… and a clone! Cover to Amazing Spider-Man #149 (Oct. 1975) by Gil Kane and Frank Giacoia.
Is Peter Wearing Spidey Underoos?
Panels from ASM #54 (Oct. 1967), featuring the pre-Jackal Professor Warren. By Stan Lee, John Romita, Sr., and Mickey Demeo (Mike Esposito).
DAY OF THE JACKAL
Two years pass before the professor is seen again, returning in Amazing Spider-Man #114 (Nov. 1972).
Writer Gerry Conway restores Warren’s role as concerned teacher, asking Gwen why Peter has been missing all week. Now sporting a shaggier look, the professor knows an uncomfortable amount about Peter’s private life, which may seem odd until one remembers that Conway was building up to the infamous ASM #121–122 and the deaths of Gwen Stacy and the first Green Goblin, a story that rocked the readers and still influences the Marvel Universe today. The Jackal and a very disturbed Professor Warren emerged in the immediate wake of these events in a slow and unsettling manner.
See BACK ISSUE #44 for the rationale behind killing Gwen Stacy. It’s the unexpected aftermath of that story that needs examining. “What we did was ignite a firestorm,” Conway wrote in the introduction to Marvel Masterworks: The Amazing Spider-Man (ASM: Masterworks) vol. 15. “We got mail. Lots and lots of mail. Lots and lots of hostile mail. Very hostile mail. And not just mail: at conventions, those of us considered responsible for Gwen’s death… were regularly verbally assaulted by angry fans. …It was upsetting. But not as upsetting for me as it was for Stan [Lee]. Stan, you see, is a people person. He loves crowds, the bigger the better. …What he wasn’t accustomed to was being attacked for his part in killing off Peter Parker’s love interest. …So he told [us] that somehow, someway, we had to bring back Gwen Stacy. …We argued with him… [and] Stan agreed that whatever we did, we should not invalidate the original story, and that when we were
done ‘bringing Gwen back’ we could write her out of the series permanently.”
Thus, the Jackal was born. Gerry Conway’s introduction to ASM Masterworks vol. 15 stated that the Jackal was designed as a mystery figure much like the Green Goblin when he first appeared. No connection to Professor Warren was hinted at, so it came as a big surprise when he and the Jackal were revealed to be one and the same. Conway explains to BACK ISSUE, “the Jackal was introduced to resolve the Gwen Stacy storyline and I always knew that he was going to turn out to be Professor Warren because that was my way into solving the requirement that Stan had that Gwen be returned. But the idea was, if I am going to return her, I want to create a villain who is as interesting to me as the [Green Goblin] was in that original storyline— a mysterious figure, we don’t know who he is, we know that there is some connection between him and Peter, but what is it?”
Following Gwen’s murder, Professor Warren returns in ASM # 126–127 , expressing concern over Peter’s poor attendance, but doesn’t appear the least bit distraught over Gwen’s death. The Jackal makes his debut in ASM #129 (Feb. 1974), where he convinces the Punisher that Spider-Man is a killer. The plan backfires when the Punisher learns that the Jackal is the real murderer. In the next issue, the Jackal offers his services to Hammerhead. “I can be anywhere, at any time,” he claims and proceeds to maneuver Spider-Man, Hammerhead, and Doc Ock into fighting each other. Eight issues pass before the Jackal makes his next move in ASM #139–140 (Dec. 1974–Jan. 1975). He befriends former professional wrestler Max Markham and provides him with a furry costume and an exoskeleton harness to increase his strength, turning him into the Grizzly [see this issue’s “Spider-Rogues Only a Mother Could Love” article for more about the Grizzly—ed.]. After Spidey and the Grizzly clash at the Daily Bugle, our hero tracks his ursine foe to his lair where he is ambushed by the Jackal, who tells Grizzly that “Wherever Peter Parker goes, Spider-Man is not far behind. How else does Parker manage those news photos?” Jackal tries using a tracking device to monitor Parker’s movements, but Peter disables it and later captures the Grizzly.
Now this raises the question of how much the Jackal knew about the connection between Peter and Spider-Man. According to Gerry Conway, “I don’t think that he knew that Spider-Man was Peter Parker. I think he discovered that when he went to make the Spider-Man clone because then it becomes obvious.” Of course, now we must wonder, when did he start growing the clone?
The Jackal lays low for the next five issues, but evidence of his handiwork appears to shock SpiderMan during this time. In ASM #142 (Mar. 1975) , Peter sees Gwen in the lobby of the Daily Bugle building, but thinks she is one of Mysterio’s illusions. The next issue opens with Spider-Man spotting Gwen entering the subway. Chalking it up to his imagination, he rushes home to embrace a very real Mary Jane Watson. However, he must believe his eyes when he finds Gwen standing in his apartment on the last page of ASM #144
The next four issues slowly unravel the mystery of Gwen’s return and the Jackal’s motivations. Peter enlists the aid of his friends at the Daily Bugle . Ned Leeds determines that while the body in Gwen Stacy’s grave hasn’t been touched, the new Gwen’s fingerprints match the one’s taken at the autopsy. Somehow, there are two identical Gwen Stacys!
Created by two of Spider-Man’s finest Bronze Age craftsmen, writer Gerry Conway and artist Ross Andru, the Tarantula was perfectly positioned to be a major foil to Peter Parker. His costume’s reverse coloring of Spider-Man’s blue-and-red uniform made a great visual contrast. His athletic fighting style was remarkably similar to the Wall-Crawler’s. His name was a natural fit for an epic nemesis of Spider-Man.
Look at the Tarantula’s first few cover appearances and you can feel the energy as he boldly slashes across the page toward our hero. His appearances were also perfectly placed in Spider-Man history to cast him as a major opponent. He showed up in a one of the most memorable early Punisher tales, and was a major player in the Clone Saga. Of all the rogues that Spider-Man had by that time, the Tarantula was picked to be the villain for the premiere of the Bronze Age classic title, Peter Parker, the Spectacular Spider-Man.
The Tarantula had pedigree, was well placed in the narrative, and had a classic bad guy’s name. Why, then, was he never considered a major opponent? Why was he relegated to second-tier status, even in stories where he was the featured villain? What did the Lizard, Electro, and Doctor Octopus have that the Tarantula did not?
by Joseph NortonDon’t Play Footsies with This Guy
(left) The Tarantula’s first appearance, in The Amazing Spider-Man #134 (July 1974).
Cover art by John Romita, Sr. (right) Ol’ pointy toes helps launch the new Spidey book Peter Parker, the Spectacular Spider-Man #1 (July 1976). Cover by Sal Buscema and Romita.
‘CAPTAIN DELVADIA’
In The Amazing Spider-Man #134 (July 1974), we met the villain with the arachnid moniker as he was hijacking a sightseeing cruise for ransom. Peter Parker quickly changed into Spider-Man, but Spidey was undone by the Tarantula’s poison-tipped boots. Stunned, Spider-Man then faced an angry Punisher in a riveting cliffhanger.
Next issue, we learned (in a gloriously retro info dump, complete with a film projector) that the Punisher was trailing Anton Miguel Rodriguez, a former leftist guerilla (how very ’70s) that was too cruel for the rebels and wrangled into service of the same oppressive government he rebelled against, later identified as the fictional South American nation of Delvadia.
The Tarantula was being positioned as Delvadia’s own costumed superhero. “That was the thought, their [Delvadia’s] very own ‘Captain America,’” the character’s creator, Gerry Conway, tells BACK ISSUE In the story, the Punisher explained that the Tarantula was now a mercenary, and that Spider-Man and he should team up to stop Rodriguez. Conway explains that the character of the Tarantula was in part “motivated by El Condor,” a swashbuckling character the writer introduced along with Delvadia, in Daredevil #75 (Apr. 1971).
ThisGuy’s Buggy (left) Tarantula’s return in ASM #233 (Oct. 1982) signaled a downward spiral for the bad guy. (right) See? We weren’t kidding! He mutates into a monster in ASM #235 (Dec. 1982)!
Covers by John Romita, Jr. and Al Milgrom.
According to Conway, the Tarantula also grew out of a love of the animal-themed villains so proudly used in Amazing Spider-Man since the Stan Lee/Steve Ditko era. “Yes, there was that lineage,” Conway states. “I loved the idea of the animal theme.” Tarantula’s costume was created for maximum opposition against Spidey, and “reverse coloring was the idea” with Ross Andru’s costume design.
Back to ASM #135: Tracking the Tarantula and his gang to an abandoned tenement (more ’70s goodness), Spider-Man and the Punisher made quick work of their foes. The Tarantula’s associates were reminiscent of the henchmen found in the ’60s Batman television series, with bolos and lariats to cement the tacky Latin flavor. The Tarantula’s poison-tipped boots were not enough to defeat Spider-Man, and we next saw Tarantula in prison in ASM #147 (Aug. 1975), plotting his breakout with the help of the Jackal and an oblivious corrections officer who allowed Rodriguez to make a new pair of deadly boots in the prison metal shop!
Serving as a henchman to the devious Miles Warren, Tarantula was again made quick work of by Spider-Man, despite some gorgeously drawn action scenes, particularly one set in a dark warehouse, lit only by Spider-Man’s rarely seen Spider-Signal. Conway fondly recalls, “I loved the way Ross choreographed the fights.” Once again, despite the cover spot, the Tarantula was pushed to the side, this time by the Gwen Stacy clone, and even dealt with off-panel. Forty-five years later, while the Clone Saga holds a memorable if controversial place in Spider-Man lore, the Tarantula’s role in it is long forgotten.
A CHANCE TO SHINE
With Spider-Man’s increasing popularity in the mid-’70s, Marvel gave Conway the task to kick off a second solo title for the character. Gerry chose the Tarantula to be the premier villain of Peter Parker, the Spectacular Spider-Man #1 (July 1976). Conway tells BI , “We really were not using the top-tier villains from the main title, and I had a proprietary interest” in choosing the Tarantula as the first villain to appear. But once again, despite another great cover, a spotlight in a debut issue, a three-part story and great art by Marvel house-style mainstay Sal Buscema, the Tarantula was second fiddle, this time to the villainous designs of Kraven the Hunter and… Lightmaster? Talk about no respect.
This was the Tarantula’s chance: a cover spot on a debut issue for easily the most popular character at Marvel at that time. But another villain again outshined the Tarantula.
Not surprisingly, the Tarantula was forgotten about for a few years until we got to see him briefly in Captain America #224 (Aug. 1978) serving as a mercenary, with Senor Muerte. In this oneoff appearance, he was no match for Captain America, despite Rodriguez’s original intentions as Delvadia’s own flag-bearer. Relegated to a few panels, the villain’s non–Spider-Man role drew attention to how far the not-so-mighty Tarantula had fallen.
A MEMORABLE EXIT
The Tarantula showed up again in ASM #233 (Oct. 1982), and was used to great effect in a riveting four-part story written by Roger Stern that wrapped up Rodriguez’s time in the costume. During his Amazing Spider-Man run, Stern not only wrote the seminal “Nothing Can Stop the Juggernaut,” considered by many as one the finest Spider-Man stories of all time, but he also broadened Spidey’s Rogues’ Gallery with the Hobgoblin; atypical villains like Cobra, Mr. Hyde, and Thunderball; and a reinvigorated Vulture. Now Stern was trying his hand at the underused Tarantula.
Here, we met the Tarantula again working as a mercenary. After another beating by Spider-Man on a Manhattan garbage scow, the Tarantula, fed up with his constant defeats, sought a power enhancement from the Brand Corporation, a subsidiary of the Marvel big-bad Roxxon Oil. After interference from another great B-level Spider-Man villain, Will-o’-the-Wisp, the Tarantula was accidentally transformed into a monstrous spider and now, finally, was a match for SpiderMan. But the Tarantula was disgusted by his transformation and, in the end, committed suicide-by-police and was gunned down.
This exciting tale, highlighting some early John Romita, Jr. art, was a great example of how comic books can create an emotional and exciting narrative using minor characters to make a bigger point. In his death, Anton Miguel Rodriguez achieved what his previous actions could not—he made an impression. This four-part Stern/Romita, Jr. tale is an unheralded Spider-Man classic, utilizing the larger Marvel Comics Universe, some classic Daily Bugle drama, and fine portrayals of two previously forgettable characters, Tarantula and Will-o’-the-Wisp.
Wilson Fisk, the Kingpin of Crime, has had a long and illustrious career of thwarting Spider-Man and other heroes since his first appearance in 1967. For over 55 years, this character has undergone a number of transitions, growing from a crime boss with limited, two-dimensional motivations into a complicated adversary whose political and corporate corruptions are as sophisticated as the ambitions he demonstrates.
While the stories the Kingpin is featured in became more sophisticated as time progressed, it’s fair to say that the character himself has become more sophisticated in kind. Long-time readers have witnessed his transformation into a powerful supervillain, the revelation of his marital status and his parenthood, and eventually his rejection of his life of crime. In later comics, he becomes a philanthropist and a politician who grows to believe he cares about the community he once terrorized, albeit it in his own blind, eventually self-serving way.
In short, the Kingpin has evolved over the years, becoming someone whose variations continue to fascinate and entertain generations of comic-book fans. But at his heart, he is still just the simple thug whose inability to see beyond himself twists and destroys everything he believes he loves… even his own illusions. The Kingpin is doomed to failure because he is unable to see beyond his own petty needs, despite how much wealth, power, and refinement he accrues.
HUMBLE ORIGINS:
KINGPIN, THE CRIMINAL BOSS
Looking at the first appearance of the Kingpin in Amazing Spider-Man #50 and 51 (June and July 1967), we see a crime boss who uses his massive size and strong-arm tactics to intimidate mobsters into obeying his orders. But it’s also clear that the Kingpin has a strategic side to his personality that other criminals don’t have. It’s this vision that almost legitimizes his methods to other members of the underworld; while they fear him, they also respect him.
This is the Kingpin’s earliest inception, and without a lot of depth we learn the scope of his character, created by Stan Lee and John Romita, Sr. The Kingpin is brutish and egotistic, and his plans are fairly basic. While he has superior strength and fighting skill, he also has a laser blaster in his cane. But his main ability is his influence and ability to organize henchmen and underlings for criminal purposes.
It’s a simple character template: the Kingpin is a bully—a clever one, but a bully nonetheless. His plans are simple in scope. Like this one: in ASM #51, he aims to consolidate his hold on the crime gangs of New York after being elected to be
Have a Seat, Spidey
This original cover art for The Amazing Spider-Man #197 (Oct. 1979) was not found underneath the sofa but instead comes to us courtesy of Heritage Auctions (www.ha.com). Pencils by Keith Pollard, inks by Frank Giacoia. (inset) The published version.
in charge and launches a crime wave like the city has never seen before. However, with J. Jonah Jameson constantly spouting Daily Bugle editorials about rumors of an underworld takeover, it’s clear to the Kingpin that JJJ has to be quieted. He orders his underlings to kidnap Jameson to either keep him quiet or put him on ice—for good.
Every story has a beginning and every character has a starting point. This is the Kingpin’s. Marvel purportedly based the character’s physical appearance on a combination of actors Robert Middleton and Sydney Greenstreet. They were also simplistic in their performances of the villains they portrayed, but like Lee and Romita’s work, it was a product of the times and the accepted level of storytelling back then.
But, as in most things, simplicity is best. We understand this character and his motivations for future writers to build and develop upon in later stories and roles that the Kingpin plays. For now, this is the Kingpin that is at the heart of every one of the different faces he portrays in other stories, with SpiderMan or other villains who are to come afterwards.
Comic writer Paul Jenkins has this to say about the Kingpin: “At his root, he will always be a simple thug. He’s a narcissist—a criminal. It doesn’t matter what hat he puts on; he will always be the bad guy. He’s a crook, plain and simple, and everything he does—whether it’s as a dad, husband, or a politician (and we’ve seen enough of these in this day and age, right?), the Kingpin is a psychotic villain and everything he does will be ruined by that. Even his own plans because, ultimately, they’re selfish and, very easily put, about him.”
Interactions between the Kingpin and Spider-Man are very similar, with the Kingpin and the Web-Slinger mixing it up in hand-to-hand combat. In a later story, the Kingpin tries to procure an antique clay tablet that holds the key to eternal youth. It’s a very simple pattern, but in ASM #83 (Apr. 1970), the Kingpin faces a challenge to his fledgling underworld domain in the form of the Schemer. This is when we see one criminal boss go up against another in a battle of wits. The Kingpin is forced to rely upon his own planning abilities to offset those of another planner and cleverly shows his street-smarts by staying out of the conflict, allowing Spider-Man and the Schemer to fight each other, waiting to see which one of his enemies emerges victorious.
It’s also of note that in this issue we first see his wife, Vanessa Fisk, and the influence she holds over him. We also get a sense of the type of parent and husband he is, refusing to believe that his son could have perished in an accident and that he wanted to protect his wife from the truth of his death. This is the first time that we see the Kingpin as a family man. We’ll look at this aspect of the character in more detail later on.
In the meantime, the battle between the Schemer and the Kingpin continues, with both waiting to see who will emerge from the shadows first to lay claim to the underworld. When they eventually do meet and face each other, it is the Kingpin’s wife who manages to allay the conflict out of an awareness that the reader doesn’t understand until the end of issue #85, when we learn that the Schemer is none other than the Kingpin’s own son, who faked his death to come back and wrest his father’s criminal enterprises for his own. This leaves the Kingpin in a state of defenseless shock, and the city of New York doesn’t hear from him for a while. As a result, the Kingpin’s criminal machinery crumbles and degrades.
Tender Mercies
Early Kingpin History: (top) A stern “dressing down.” From ASM #69. (center) Romita’s wizardry at drawing statuesque beauties, partially forged in the fires of romance comics, made him the perfect artist for the icy but fetching Vanessa Fisk. From ASM #83. (bottom) A catatonic
Captain America and the Falcon… and the Kingpin?? (bottom) For a few months in late 1971 and early 1972, Kingpin appeared in a Captain America storyline by writer Gary Friedrich and artist Sal Buscema. Presented here is the title splash for Captain America #148 (Apr. 1972).
DEVOTED HUSBAND AND FATHER?
That brings us to this incarnation of the Kingpin. We first meet Vanessa in ASM #70 (Mar. 1969). As drawn by Jazzy Johnny Romita, she is a regally handsome woman with a streak of gray in her hair, but also the bearing of a noblewoman. Kingpin is clearly influenced by her, as we see in his deference and her ability to withstand his will.
In the previous issue, ASM #69 (Feb. 1969) , when one of the Kingpin’s thugs remarks that the only person who can boss “the Boss” around is his wife, the Kingpin overhears him and flies into a fury. The level of importance even this early incarnation of the Kingpin has for his family is established. No one bandies even the slightest mention of the Kingpin’s wife in his vicinity.
In this brief moment, we get the sense that Vanessa is a better person than her husband. It’s a specious glimpse into the Kingpin’s personality, but his anger at this insinuation points to an insecurity wrapped in the knowledge that he not only is aware of this but believes it, too.
The Schemer appears in issues #82 to 85, proving a worthy adversary to the Kingpin’s own plans. Vanessa Fisk is someone who tries to minimize the Kingpin’s violence and rescue her husband from defeat, even though she doesn’t approve of his criminal activities, and someone Wilson Fisk desperately wants to protect from any sort of pain— including the knowledge that their son, Richard, has gone missing from his illustrious boarding school in Switzerland and is presumed dead.
Wilson Fisk’s relationship with his wife is clearly of paramount importance, becoming even more vital to the events of issue #85 (above left) when the Schemer is revealed to be Richard. When Vanessa eventually discovers that their son had gone missing from his boarding school, she demands to know why her husband did not tell her. The Kingpin responds with two reasons: he didn’t believe he was dead and he wanted to protect her from pain.
While the Kingpin’s intentions are good, sending his away to school and keeping his wife unaware of the incident are two decisions that cost him both his son’s love and his own sanity. There is no doubting Wilson’s love for his son and wife, but he loses both because of the clumsy way he expresses and supports that love. His devotion to his wife is myopic and is corrupted by his criminal ways.
The revelation that his son is the Schemer, the upstart villain who tried to steal the Kingpin’s criminal empire, throws the Kingpin into a state of catatonic shock. It is too much for him to bear and all of his efforts to protect and preserve both wife and son from his criminal activities are for naught.
KINGPIN THE SUPERVILLAIN
The Kingpin later appears as the menacing secret mastermind behind a chapter of the terrorist organization Hydra, beginning in Captain America #146 (Feb. 1972). [ Editor’s note: For an in-depth Hydra history, see BACK ISSUE #141.] Readers are not given a reason as to how he managed to recover from his catatonia until much later in the comic. However, in this story, we see the Kingpin mobilizing troops, diverting resources to help defeat the Red Skull’s Sleeper Robot as it threatens his own criminal enterprises. Though he has access to ultra-high technology, regardless of the trappings, his plans are still basic in nature.
THE NEW WAY OF THINKING IN ‘BORN AGAIN’
The Kingpin and Daredevil cross swords with each other multiple times after this first encounter. This leads up to writer Frank Miller and artist David Mazzucchelli’s 1986 “Born Again” arc in Daredevil #227–233, which shifts the villain’s status from Spider-Man’s Rogues’ Gallery to Daredevil’s arch-nemesis. While the story arc’s title is about Daredevil, the Kingpin is also born again as he is fully realized into the mastermind criminal genius readers are familiar with.
With Spider-Man, the Kingpin’s schemes had always been limited in scope: a heist, a theft, or some sort of struggle for dominance.
In Miller’s Daredevil , the Kingpin becomes more cerebral. His plans take more time to unfold and he becomes a “long-game” player. Nowhere is this more on view than in “Born Again,” where the Kingpin discovers Daredevil’s secret identity. He launches a smear campaign against Matt Murdock, eliminating Murdock’s social and financial assets and essentially erasing Daredevil as a threat, the types of criminality Kingpin is now known for.
The idea of the Kingpin using legal loopholes against an adversary was not a practice of the more straightforward storytelling of Amazing Spider-Man stories of the 1960s and 1970s. By the 1980s, an awareness of dramatic legal topics in mainstream literature and movies ( Kramer vs. Kramer ; I, the Jury , etc.) opened up possibilities for Frank Miller’s more believable portrayal of Kingpin’s criminal mentality. Forget the laser canes, trick desk gadgets, or even the Kingpin’s vaunted super-strength in those ASM tales. Under Miller, Wilson Fisk’s greatest power becomes his ability to command legal warfare to crush his enemies.
As “Born Again” begins in Daredevil #227 (Feb. 1986), Karen Page, Murdock and Nelson’s ex-secretary and Murdock’s former flame, has fallen on hard times. For the cost of a single score of heroin, she gives up Daredevil’s true identity of Matt Murdock. When this revelation reaches the Kingpin, he carefully tests the information before taking his revenge upon his new nemesis. Using the legal resources of his vast criminal empire, the calculating Kingpin destroys Murdock’s credit rating, freezes his financial assets, and through bribes and intimidation ruins his career with false accusations. Fisk isolates Murdock from his friends, and then destroys his home, at which time Matt becomes aware of the perpetrator of his woes.
In this arc, we see a Kingpin who is content to let his enemy come to him. Murdock loses his purpose, and at last loses his hope. The Kingpin keeps him under close observation, regaling in the updates he is given by underlings when he learns that Murdock sits by and lets innocents suffer around him. He also predicts that after all that has been done to him, Murdock is on his way to face him.
Weakened and demoralized, Murdock faces the Kingpin—who easily defeats him, much like the first time they met. Yet in this case, Fisk battles Murdock with the confidence of a chess player who knows his opponent is in the losing stage of an endgame. It is Matt Murdock he is facing, not Daredevil. The Kingpin takes his time crushing Murdock and relishes the victory. He pummels Murdock into unconsciousness, loads him into a taxi, and has the vehicle dumped into the Hudson River. The Kingpin’s methodical vengeance faces an unexpected turn in Daredevil #229 (Apr. 1986) when he discovers that there is no corpse in the wreckage of the cab.
This, of course, is testament to Matt Murdock’s fighting spirit. Murdock is in dire need of something that the Kingpin could never attain: redemption. We know that Daredevil will never give up. But in this story arc, there is an emphasis on the increased sophistication of how the Kingpin thinks. Most of the “Born Again” arc is devoted
Scales of Justice
The vast majority of comics readers, casual and hardcore fans alike, tend to think of supervillains like Doctor Octopus, the Chameleon, Sandman, or the various goblin-themed baddies when Spider-Man’s Rogues’ Gallery is discussed. Yet, organized crimelords have also wreaked havoc in the Wall-Crawler’s numerous adventures.
Wilson Fisk is perhaps the most famous crimelord in SpiderMan’s diverse cast of foes. But there have been other gangsters who have given the so-called Kingpin of Crime (discussed elsewhere in this issue) a run for his money—coloring New York City’s streets red with the blood of their enemies and the innocent alike—in their attempts to take control of the underworld and destroy ol’ Webhead.
Join us as we shine a spotlight on these wise guys and their plots, schemes, and crimes. Remember to dodge Hammerhead’s steel-alloy head before reading on. Otherwise, it’ll knock you unconscious.
SILVERMANE
Silvio “Silvermane” Manfredi made his debut in the late Silver Age, in Amazing Spider-Man #73 (Mar. 1969), and continued to cause trouble for Spidey in the Bronze Age and beyond.
Silvermane and BACK ISSUE –era villains Hammerhead and Tombstone, discussed shortly, are heads of families comprising parts of the criminal syndicate called the Maggia. Manfredi was nicknamed “Silvermane” once his hair had completely whitened in his middle age. As he grew older, Silvermane became obsessed with regaining his youth. Spider-Man often got caught in Silvio’s quest and the mob boss’ attempts to bring crime families together and apart. The Lifeline Tablet, a.k.a. the Tablet of Life and Time, and its elixir’s formula were what Silvermane had sought to prevent his aging. The end result was a case of being careful what you wish for. Silvio Manfredi had regressed into infancy and eventual nothingness. Silvermane later revealed to the Man without Fear in Daredevil #123 (July 1975) that a “rubber band effect” from the chemicals brought him back to his proper age.
Silvermane attempted to bring together crime families while forming an uneasy alliance with pseudo–Green Goblin Bart Hamilton to destroy the Wall-Crawler in ASM #177–180 (Feb.–May 1978). He also threatened J. Jonah Jameson into silence in Spectacular Spider-Man Annual #2. Yet, these are typical gangster tropes used in comics and other media.
Silvio Manfredi was on life support when Cloak and Dagger apparently killed him in Spectacular Spider-Man #69 (Aug. 1982). The following issue revealed a resurrected Silvermane with a cybernetic body as he went on “The Great Cloak and Dagger Hunt,” with Spidey in pursuit.
Like so many other bad guys, Silvermane was out for SpiderMan’s blood. This was not his only objective. The cybernetic gang leader needed this upgrade to get off life support in Web of Spider-Man #79–80, where he had been since a failed assassination attempt in ASM #284, the first chapter of “Gang War.” (More on that story shortly.) This was all part of Silvermane’s plan to return as head of his family. Had it not been for the help of the Black Cat, Spidey would have barely survived the ordeal with Silvio and his Silver Squad androids.
Silvermane returned to wreak more havoc on Ol’ Webhead in 1995’s Spider-Man: Power of Terror miniseries. In this tale, which takes place during the controversial Clone Saga , the likes of Deathlok and the Punisher guest-star as Spider-Man must stop Silvermane from taking over Michael (Deathlok) Collins’ cyborg body.
Presently, Silvermane remains active in the Maggia and, thus, is still trying to kill a certain Web-Slinger. His efforts have not been successful, but you can’t blame a cybernetic crimelord for trying.
Upon examining Silvermane as a character, one can see his obsessions with youth and cheating death eventually cause his
byHarried by the Mob
Hammerhead and his gang, muscling their way onto the John Romita, Sr.–drawn cover of Amazing Spider-Man #114 (Nov. 1972).
The Silver Age bestowed upon us classic Spider-Man rogues, and the 1980s continued this proud tradition: giving us Hobgoblin, Venom, and Puma!
INTRODUCING… PUMA
Peter Parker—Spider-Man—had always been a favorite, but the early ’80s saw a resurgence in popularity. Interest rose to a frenzy with Roger Stern’s mystery of the identity of the Hobgoblin, then—amazingly— soared even higher with the debut of Spidey’s new, all-black costume [Amazing Spider-Man #252, May 1984]. Incoming scripter Tom DeFalco had a tough act to follow.
DeFalco hit the ground running. He scripted ASM #252 (over Stern’s plot), introduced crimson-cowled crime boss the Rose in ASM #253, and suave jewel-thief Black Fox in ASM #255. However, the following issue featured this author’s favorite DeFalco contribution to the Spider-Man mythos.
After Spider-Man proves himself to be a thorn in the Rose’s side, the mauve-masked malefactor hires a professional assassin to deal with the Web-Slinger in Amazing Spider-Man #256 (Sept. 1984). Thus we are introduced to… Puma!
And what a dramatic introduction, gorgeously penciled by Ron Frenz! We watch a man-like figure race across the uneven ground of the New Mexico desert. “With physical senses which have been heightened to superhuman levels, he follows a spoor that would be totally invisible to most human trackers!” The man-cat then hurls himself into affray with three rogue mountain lions. “He attacks swiftly… with a strength which staggers the mind… and a savagery beyond that of any wild animal!”
by Jarrod ButteryORDER THIS ISSUE IN PRINT OR DIGITAL FORMAT!
Six minutes later, Puma muses that that wasn’t a bad workout. He sits, concentrates, and transforms back to Thomas Fireheart, CEO of Fireheart Enterprises—located in Heartsdale, New Mexico. Receiving the Rose’s message, Fireheart flies to New York. The two meet as old colleagues, with Fireheart telling the Rose, “The work you offer is usually so… challenging.” (So we know this is not his first rodeo.) Fireheart asks the Rose for something which Spider-Man has recently handled, and the Rose complies. Fireheart transforms into Puma and leaps to the Manhattan rooftops. He identifies Spider-Man’s spoor, sits, concentrates, and finds one scent in a city of millions!
Puma tracks Spider-Man and spies the Web-Slinger swinging through the city. Puma throws a pipe at Spidey with such speed that Spidey has no time to react. The Wall-Crawler feels his spider-sense tingling, but barely dodges—losing his web-line and wrenching his arm out of its socket as he stops his fall. Spidey collapses from the pain as Puma advances… To be continued!
The illustrious Tom DeFalco was asked if he and Ron Frenz had as much fun creating these stories as we had reading them. “Ron and I were having a ball, but we also worked our butts off,” he beams to BACK ISSUE. “We kept trying to make each new issue even better than the last one. We aimed to improve our skills and entertain our readers to the best of our abilities—goals which we still have today.”
SPIDER-ROGUES
BACK ISSUE #145
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It is immediately evident that Thomas Fireheart is a stone-cold killer. An assassin-for-hire who accepts assignments for the challenge. But he’s also a Native-American millionaire entrepreneur—a Tony Stark of the Southwest. He’s measured, level-headed, and dangerously sane. DeFalco was asked if this was a conscious choice to distinguish him from other “wild” characters: “Absolutely! Ever since Wolverine appeared on the scene, people have been copying him to absurdity. Almost every company and creator has a Wolvie clone. We wanted Puma to be different and stand out in contrast to all those fake Wolvies.”
Another point of distinction is that Fireheart is Native American. “Ron and I were often thinking of diversity back in those days—long before it became the cause of the week,” explains DeFalco. “I was also a big fan of the Tony Hillerman books.” [Editor’s note: Crime novelist Tony Hillerman (1925–2008) was the author of a series of detective novels featuring Navajo cops Joe Leaphorn and Jim Chee.]
Cat Scratch Fever
Watch out, Web-Slinger! A new supervillain is on the prowl! Puma premieres in The Amazing Spider-Man #256 (Sept. 1984). Cover by Ron Frenz and Joe Rubinstein. TM & ©