Reading The Amazing Spider-Man: Issue Number Seven

Reading The Amazing Spider-Man, we learn lessons on how to create an enduring story franchise by critiquing one of the most popular serial works of the modern age from the very beginning. This time around, it's issue number seven, "The Return of the Vulture."

The splash page depicts the green, winged vulture swooping upside down toward a big metal… thing… while Spider-Man, hanging with his legs wrapped around the Vulture's waist, is about to slam right into it. A few blue collar types cower in shock in the corner. A caption claims that readers have been clamoring for the Vulture to re-appear since his debut in issue number two of The Amazing Spider-Man, while another serves the by-now standard purpose of telling the reader how awesome this issue is going to be. On with the story!

Synopsis

The first three panels tell you everything you need to know about the Vulture's first appearance: no one could figure out how the Vulture did his flying trick until Spider-Man sussed out that it was through magnetic power. For boy genius Peter Parker, it was a simple matter to create an "anti-magnetic inverter" (a what, now??) that clipped the Vulture's wings and sending him "into the waiting arms of the police!"

For "months," the Vulture is a model prisoner. He's so well behaved, the warden lets him use the prison machine shop. Now, I'm no correctional facility management expert, but I'm betting that giving a formerly flying jewel thief who is obviously pretty damn good with machines the run of the prison machine shop isn't going to get the warden any points with the governor, because what do you think happens next?

The Vulture puts a new, improved flying device together "right under their noses" and, next time he's out in the yard for exercise, uses it to fly over the wall and to freedom.

"Meanwhile," in another prison yard (okay, it's the school yard of Midtown High), Flash Thompson taunts Peter Parker into a game of volleyball. Just as Peter is about to participate and — just maybe — show he's not the milktoast Flash thinks he is, he overhears on a convenient transistor radio that the Vulture has escaped and has to fake a headache and cut out to get the bad guy. Flash observes:

Strange how you always get those "headaches" whenever something exciting is going on!

It's not clear if Flash is referring to the pending volleyball game or the Vulture's escape, or if he's bright enough to put it all together and come up with "Peter Parker is Spider-Man." Wait and see?

At home, Peter changes to Spider-Man while grousing about having to look weak in the eyes of his schoolmates. He "can't take much more ribbing," and vows that eventually somebody's "gonna lose a mouthful of teeth!"

Peter double checks that he has plenty of web fluid, his camera, and the anti-magnetic inverter, and swings into the city to hunt for the Vulture, who is testing his new, improved wings by playing chicken with a police helicopter for fun. He deftly flies into an open window several stories above the street… which turns out to be a jewelry showroom.

Since he's there and all, he robs the place at gunpoint and flies off, low over the street to avoid police radar. The cops are helpless to fire on him, since a missed shot might hit a bystander. The Vulture, full of confidence and power, seems to be having a great time.

Spider-Man finally shows up, but he's got to get close enough to the Vulture for his anti-magnetic inverter / faux-science doohickey to work. The Vulture, who knows full well that thing won't work with his new, improved wings, flies straight for the amazing Spider-Man.

Spider-Man thinks this is great. He's going to get a picture he can sell to J. Jonah Jameson, snapped at the very moment the Vulture's wings give out. Indeed, Spider-Man clicks on the anti-magnetic inverter (how many times will I have to type that phrase, I wonder..?) and takes the picture just as the Vulture spirals toward the street.

As Spider-Man descends from the rooftops to round up the Vulture, he's almost disappointed that the whole thing was so easy. But wait! Unseen by Spider-Man, the Vulture has swooped back around and clobbers our hero with a double upper-cut.

Spider-Man starts to fall. The Vulture bops him a few more times while he's stunned then hovers above, gloating. Spider-Man tries to break his fall by catching his web line on a building, but he misses — twice! With little time left, he tries to spin in the air to break his fall. He lands hard on a rooftop, knocked out cold.

The Vulture — and the crowd watching below — assume that Spider-Man has been killed. A cop "despite what Jameson's editorials said about him," mourns the hero's passing.

Of course, Spider-Man still lives, but he's hurt his right arm pretty badly. He slinks home and sneaks in through his bedroom window, but he has to hide, clinging to the ceiling, when his Aunt May comes into his room, thinking she's heard him. Bewildered, she leaves (conveniently shutting the door behind her), worried about her "fragile" nephew being late coming home.

Spider-Man gingerly changes into Peter Parker, slips back out the window, and comes in through the front door. He tells his Aunt — and the doctor she insists on him seeing — that he hurt his arm playing volleyball. The doctor informs him he's got a nasty sprain, but it should be okay in a few weeks. That's a drag — the Vulture's on the loose and won't wait!

The next day, Peter's got to show up at school with a sling on his arm. This naturally prompts some ribbing from Flash Thompson:

Did you try to turn too many heavy pages at one time, bookworm? Or did you drop a nasty little test-tube on it in the lab?

Liz Allen — who has apparently forgotten all about her crush on Spider-Man and is back on Flash's arm — laughs at what she thinks is a blush of embarrassment on Peter's face. Peter's thought-balloon tells us differently:

They don't recognize I'm livid with anger! If I ever let go, I'll splatter that clown all over the landscape!

Something's happening here, dear reader. Stan Lee and Steve Ditko are laying down some forshadowing. In just a few years, The Amazing Spider-Man will be filled with interweaving, waxing and waning storylines that start off with small bits and hints, just like this. The trend starts in this issue.

Meanwhile, in his quaint abandoned farmhouse hideout on Staten Island, the Vulture is kicking back planning his next heist… the payroll of J. Jonah Jameson! It's Friday and probably payday, so the Vulture suits up and flaps for the city.

And, at the offices of The Daily Bugle, we find young Peter Parker, talking to J. Jonah Jameson's secretary…

We also find one comma too many, if you ask me.

Jonah's secretary is Betty Brant, who must not be too many years out of high school, because she doesn't have a problem flirting with sixteen year old Peter. She can't believe Peter sprained his arm playing volleyball, so Peter tells her it happened while he was fighting the Vulture. They laugh about this ridiculous fib and the volleyball story sticks.

Peter wants to sell Jonah his up-close snapshot of the Vulture, but Jonah's reluctant — with the Vulture showing off all over town, everyone has pictures of the old coot. Since it's such a good shot, Peter convinces him to give up "twelve fifty." It's not clear if that's $12.50 or $1,250.00. What do you think? Remember that this story takes place in 1963.

The Vulture, grinning like a loon, swoops in through Jameson's open window and wonders out loud,

If you'll pay for a mere photo of me, what will you give for the vulture in the flesh??!

The Vulture pulls a gun — and don't think too hard about where he holsters that thing, dressed as he is in a skin-tight green body suit — and demands that Jameson open the safe and hand over the payroll. Jameson starts blubbering about how it's all the money he has in the world, he's spent years building up his business, this will kill him, blather, blather. Apparently the publisher of The Daily Bugle and Now Magazine pays his staff in cash..? He and the increasingly exasperated Vulture go back and forth on this for four panels, which is all the time Peter Parker needs to slip out and change into the amazing Spider-Man.

Spider-Man, his bum arm in a sling made of nearly invisible webbing, bursts in and engages the Vulture, who is shocked the hero still lives. It's right about here that the issue unrepentantly shifts into screwball action comedy mode, and it stays there for the next eight pages.

With a frantic Jameson in the middle, the Vulture and Spider-Man trade punches and wisecracks until the Vulture breaks away to find more room to use his wings "to their best advantage." Spider-Man literally leap-frogs over Jameson in pursuit while Betty Brant, papers and skirt flying, dodges to stay out of everyone's way.

Given the opportunity to have a re-match with the Vulture and wreck the newsroom of the man who makes his life so miserable has Spider-Man in a great mood despite his injured arm. He's dropping one liners like they'll burn his tongue while Jameson blusters that they're destroying his office and the Vulture tries and fails to escape out a window.

Finally, the Vulture breaks for the stairwell and flies down a few floors, where the giant printing presses are rolling. Spider-Man follows by dropping straight down, hanging from his web. Two newsies — one looking a touch like Superman's pal Jimmy Olsen — add to the comedy:

The place is haunted!

Who's chasing who?

Spider-Man catches up with the Vulture and leaps onto his back. The Vulture flips over in mid-air and tries to slam Spider-Man into the giant, whirring print rollers busy making the next edition of The Daily Bugle, but Spider-Man clings tight to the Vulture's back — until the Vulture slams him into the ceiling "with telling effect…" Spider-Man's injured arm smacks right into the ceiling tiles, and the pain forces him to let go.

Spider-Man nearly falls into the rollers, but this time his webbing saves him — until the Vulture slices the web-line! Again, we find ourselves reluctant to guess where the Vulture hid the knife.

Spider-Man makes a heroic leap out of harm's way. The Vulture escapes out the window, where he waits above for Spider-Man to appear. Fortunately, Spider-Man's spider-sense warns him of the danger… but Spider-man lets the Vulture spring the trap. Our boy has a plan.

The Vulture grabs Spider-Man and flies him "so high that you'll be completely helpless! Even a spider is powerless in the sky!"

Spider-Man cracks wise, but the Vulture pushes him, insisting he's got to be scared to death. The Vulture reveals a grudging respect for his enemy:

Before I drop you, Spider-Man, I want to say I admire your courage! Anyone else would be begging for mercy now! I'm almost sorry to have to do this…

Before the Vulture can make Spider-Man go splat, our hero pins his wings with webbing. The Vulture freaks out, convinced that if he can't fly, they'll both die. As they plummet, the Vulture breaks down in sobbing hysterics, proving that he's among the "anyone else" who would be begging for mercy at a time like this.

Spider-Man's in complete control. He rides the Vulture like a horse as he casually spins a web parachute to break their fall. As they safely descend, the Vulture realizes Spider-Man planned it all. He vows "You haven't heard the last of me," as Spider-Man leaps off to let the Vulture descend into the arms of the police, much like the first time he was defeated.

As Spider-Man is making his exit, J. Jonah Jameson calls to to him from his window. Spider-Man, thinking Jameson wants to apologize and give him a reward, replies politely and swings over to hang in front of the publisher.

Jameson, of course, reads him the riot act and holds him responsible for all the damages done in the fight. Spider-Man, fed up, webs Jonah's mouth shut, deciding…

Why not? What have I got to lose? You couldn't hate me any more than you do now! But anyhow, I won't have to listen to you for a while! That won't wear off for at least an hour!

Spider-Man leaves Jonah to fume and curse behind his gag. Changing back to Peter Parker, he re-enters the press room and discovers Betty Brant still hiding behind her desk. He asks if he can join her, and they look adorable and cozy sitting there on the floor.

Betty asks him where he was during the fight, and when Peter tells her he was hiding in a closet because he's not the heroic type, she confesses she isn't either and that that's why she likes him(!!!) so much — he doesn't pretend to be what he's not. That's a nice bit of light dramatic tension!

Jameson runs by behind them, still grumbling and swearing, his hand covering the webbing over his mouth. Betty wonders what's wrong with him and when Peter confesses he thinks it's an improvement, Betty scolds him for laughing at "a secret little joke that's all your own!"

Peter, feeling damn good and bursting with confidence, tells Betty if she keeps using that perfume, he might tell her all about it some day.

She's impressed and amused — that's the closest thing to a romantic remark she's ever heard him say.

The last exchange of the issue is right in keeping with the screwball comedy tone Lee and Ditko established.

Peter: Gosh, I can be more romantic than that! Here, rest your head on my shoulder, blue eyes, and let's enjoy the silence!

Betty: But what will Mr. Jameson say?

Peter: Nothing, baby… for at least an hour!

And… curtain! You can almost hear the orchestra strike up the closing theme.

Thoughts On Issue Seven of The Amazing Spider-Man

The big teaching point with this issue? Build story, lay groundwork for what's to come, develop and advance your characters, drop hints and red herrings to keep your audience interested… but don't be afraid to have fun!

Build Story: the fight between the amazing Spider-Man and the Vulture has to be similar to, but a step up from, their last tangle. For such a smart guy, Spider-Man is far too confident in their first encounter this issue, and he pays the price with a sprained arm and the ridicule of his peers. When he and the Vulture have their big fight at the offices of The Daily Bugle and Now Magazine, Spider-Man has learned his lesson.
Lay Groundwork for What's To Come: Seeds are planted in this story. Some will bear fruit as soon as the very next issue, some in a few months, while others will play out across years. This is critically important when building a story franchise… keep adding kindling so the story fire continues to burn!
Develop and advance your characters: All I can say is: dig the new, smooth Peter Parker! As we've seen gradually over the last few issues, Peter's confidence (while not always his best feature) is developing both in and out of the Spider-Man suit. Far as we know, he's never had a girlfriend, but he seems to pull lines out of every cheesy movie he's ever seen and that serves him well with Betty Brant, who is already willing to see whatever game the kid might have. I'm still a little weirded out by Betty — who must be at least eighteen — being so keen to go out with a kid who's still in high school.
Drop hints and red herrings: Flash Thompson, Betty Brant and J. Jonah Jameson all alluded to either a suspicion about Peter Parker or a desire to expose Spider-Man. Some of these will play out. Some won't. The important thing? The audience wants to stick around to see which is foreshadowing and which is a red herring. Keep 'em guessing… so long as you reveal your intention, one way or another, eventually.
Have fun! There's plenty of that in this issue, and how! Even the Vulture seems gleeful in his crime spree — he's smiling with delight nearly every time we see him, an old man with maybe one last chance to show it to the world. Spider-Man draws on every joke book he's ever read while he fights the Vulture and, in a different way, J. Jonah Jameson. The fight itself is full of crazy acrobatics, and the banter between the Vulture and Spider-Man borders on good-natured, despite the Vulture's desire to kill him. Best of all is the playful flirtation between Peter and Betty at the end — you can practically feel Lee and Ditko winking and taking a bow.

This is perhaps the most purely entertaining issue of The Amazing Spider-Man so far, and a great object lesson that no matter what the theme or tone of your story, every now and then it's okay to play it for laughs and cut loose. If you tickle now and then, when you bring the drama it will have a much larger impact on your audience. What do you think?

The Amazing Spider-Man number seven

"The Return of the Vulture"

Cover Date: December, 1963

Script: Stan Lee

Art: Steve Ditko

Letters: Artie Simek

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Matthew Wayne Selznick - Telling stories with words, music, pictures and people.