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The Amazing Spider-Man (1963-1998) #300
Amazing Spider-Man (1963-1998) #300
The return of Eddie Brock! And red-and-blue Spider-Man! Is Venom still holding an irrational grunge against the wall-crawler? This is a symbiote smack down you won’t want to miss!
41 pages, Kindle Edition
First published May 1, 1988
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50 people want to read
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Displaying 1 - 15 of 15 reviews
January 4, 2016
I created pictures of Venom, Carnage and Spider-Man in high school Graphic Arts class over twenty years ago. I favorited the two villains because I found their sarcastic personalities and complex psyches intriguing.
I'm not sure if the time gap played a part in my not liking this as much as I thought I would, or the intended audience age gap squelched it for me. I found married life a boring concept for a superhero, but perhaps they tried to portray a role model thing instead of the more realistic man-whore image. Also, I think women and girls today may consider this a bit mosogynistic because the guys fought the cosmic warfare and the ladies looked pretty and cried tears of dependence and longing for protection.
I liked the fight with Venom. Some of the cliches kind of hit the cheese factor, like the old "if I had a nickel for every" line.
Overall...ah. Okay I guess. Nothing as prolific as Sandman.
I'm not sure if the time gap played a part in my not liking this as much as I thought I would, or the intended audience age gap squelched it for me. I found married life a boring concept for a superhero, but perhaps they tried to portray a role model thing instead of the more realistic man-whore image. Also, I think women and girls today may consider this a bit mosogynistic because the guys fought the cosmic warfare and the ladies looked pretty and cried tears of dependence and longing for protection.
I liked the fight with Venom. Some of the cliches kind of hit the cheese factor, like the old "if I had a nickel for every" line.
Overall...ah. Okay I guess. Nothing as prolific as Sandman.
July 9, 2025
4.5/5 Stars - "Venom"
January 17, 2021
Such a great, iconic, and important book.
Read
January 24, 2024Can’t rate it because it’s so short but damn this didn’t age so well (iykyk..)
Other than that then obviously I loved this. “Then why don’t you give it 5 stars” shush just shush okay it’s literally like 30 pages I’m not giving a 30 page book with mostly only drawings a rating.
Also I haven’t read a Spider-Man comic let alone a comic for nearly 2 years so this was especially fun 💝
Other than that then obviously I loved this. “Then why don’t you give it 5 stars” shush just shush okay it’s literally like 30 pages I’m not giving a 30 page book with mostly only drawings a rating.
Also I haven’t read a Spider-Man comic let alone a comic for nearly 2 years so this was especially fun 💝
July 30, 2018
Michelinie's writing is very, very heavy-handed, and I really don't like it. This long introduction to Spider-Man's most iconic villain-turned-antihero is a clear image of this, with Brock monologuing for interminable pages and Peter and MJ thinking out loud everything. I know it's another era's style, but it doesn't mean it's good. The art is very late '80s, and Venom looks menacing, as he should.
April 15, 2018
VENOM!
August 18, 2018
A supreme page-turner!
Hats off to the creative team (David and Todd)
I can not wait to meet David Michelinie this weekend and tell him how much I enjoyed his writing on this issue!
Hats off to the creative team (David and Todd)
I can not wait to meet David Michelinie this weekend and tell him how much I enjoyed his writing on this issue!
May 14, 2023
Almost like he is swinging from the clouds. 80’s attire ahead of a 90’s edge.
Micheline developed stories that allowed his artists to shine. Placing the spotlight on what could be the world’s most famous fictional couple and the ones drawing them. What once started in Michelinie’s Spectacular run— Indiana Jones, Bond-influenced adventurer; a thrill-seeking masked-man lost in real-world based war games. Once McFarlane comes on board for ‘Amazing’ in the late 80’s, the focus is on Peter, MJ, and their ever growing romance. Peter Parker shies away from the naive, friendly neighborhood teen of a by-gone era. Coming into the age of sex, drugs (okay...without the drugs but one can infer) and rock and roll. Mary Jane’s angelic red hair flows like a cape, stealing each panel. She is lascivious, and Peter, willing to let his guard down, embraces the spotlight amongst any de-virginized effect.
If Frenz made New York a character in-scale for Spidey’s web-slinging, McFarlane turns New York into the ominous city-scape that the hyper-mobile Spider-man was always meant to rise above. With webs that engulf him, empowered by a ‘Thwip!’ that chains. Maneuvering across a illimitable dark city, trailed by yellow lights that the moon and windows beam beyond the physically impossible poses of our hero; and amongst the most perfect, technically sound, detailed set design for the city dread. Under the mask, we see how McFarlane excels in the stylistic and exaggerated characteristics of his subjects. Wide-eyes, excessive lines, enlarged faces, cross-hatched for endowed expressions that make a bold statement. JJ has never looked so furious, Mary Jane so beautiful, and Peter so concerned. The pen, drenched in ink, lining an ellipse, almost armored protected face-mask. McFarlane’s art takes the concept of Spider-man being a street hero as serious as a comic hero can be.
In the alleys, on the rooftops, in central park where the spider stalks. Amongst the beauty of the iconic imagery of a hero unmasking the subtlety of human behavior. In #305, Spidey slowly takes the mask off Prowler (whom McFarlane borrowed heavily from in his creation of Spawn) in the middle of interrogation. Prime imagery against the vertical panel, placing focus to a part of the scene that would have been easy to gloss over. While subtle, the act of the Spidey’s hand pinching Hobie’s mask screams domination over the frightened Prowler— the desperate vigilante needs Spidey's help to save his wife. Yet bringsforth duel meanings to the scene besides what’s written in the bubble, for ‘Spidey is here to help you, but Spidey is here to to remind you who is boss.’ In issue 315, Eddie Brock feels guilty for extinguishing the guard after escaping his cell. Eddie/Venom is seen kissing the dead guard on top of his forehead. While most comic artists would depict the event with little or need for theatrics, nor any extraneous purpose of character, McFarlane brings forth a sense of attitude never seen in comics before. His unique style gives more meaning to what is simply written in the bubbles. The importance to how the panels are cut are now as significant to the overall artist’s design as the illustration themselves.
For the first time in Spider-man, dynamic usage of the ink and pencil is no longer saved for web-slinging and fights against unmatched villains in silly costumes; but for every panel in which Peter/Spidey is antagonized or playing the part of antagonizer. McFarlane alters the lens in how we have been viewing our hero for the past three hundred issues or so. He’s more mature, more flexible, more demeaning, and more violent. A hero who’s only attitude in the past came with glorified trapeze work and dad-like quips, is now smashing faces against headstones and interrogating bad men with little concern for consequence.
McFarlane, like Spidey, makes his presence known.
In #307, in Spidey’s search for the missing MJ amongst the pile of headstones that are marked: Ditko, Romero, Frenz, JRJR. The arrogance mimics the attitude Spidey has this go around. Symbolizing an end of a spiraling 80’s with what would foreshadow Image Comic’s definitive edge of the 90’s. Michelinie crafts a story that allows McFarlane to flourish. And for the benefit of the overall product, sacrifices a layered plot with a loose one for the young artist to play around with.
Not everything is superficial, however, for the pair pulls at the heart strings in issue #315. A fool for any christmas special who is charmed by some of the more classic Xmas tropes, and winter ambience to burrow along side the rekindling of the relationship with the first woman our hero has ever loved: his dear Aunt May. Mary Jane’s stalker arc, starring their powerful landlord, Jonathan Caesar, brings some horrifyingly sensitive and provocative themes we haven’t seen before in the main Spider-man line. Evident from his early work, and in his run at Valiant comics, Michelinie has the ability tell some pretty involved stories with some deep-seeded plot elements dealing in topical events and the increasingly polarizing political climate of the Regan era; but so much of the run’s success is how McFarlane works magic with Michelinie’s uncharacteristically broad scripts. Spider-man 300 is one of the best issues you’re ever going to read in main Marvel continuity without having much of a plot to go alongside it. Eddie Brock’s origin is slap-dash (a post-hoc explanation of events in “Death of Jean DeWolff” in which Eddie Brock capitalizes on the reporting of the false confessor), but it gives McFarlane free reign to attach the symbiote to an angry, tough guy like personality. The young artist puts Brock in some memorable poses: pumping iron, fuming over pinned clippings of Spider-man—every vein accentuated— and harassing MJ from the shadows. All of which lead to a climactic reunion on the bell tower where Spidey first freed himself from the same symbiote that has since taking control of Eddie Brock.
The more adventurous plots involving the Life Foundation, seen in #321-326, don’t work as well. Spidey is put through an array of environments with action that stifles McFarlane's neo-noir style. #302 and #303, and #321 onward, McFarlane seems pressed to just layout the story rather than detail it with his unique kinesthetic touch. If it’s Peter taking an internship in Kansas, or Peter's and MJ's escapades in the fictitious Symkaria, his best work is not in the country or in the Michelinie's imitation of Marrakesh, but rather on the grimy streets of New York City.
The highlight: Spider-man fights Styx and Stones above central park shows just what McFarlane can accomplish when solely focused on the Big Apple. McFarlane would go on to adopt his own stories in the 15 adjective-less, but actual amazing, Spider-man. His first solo act, which essentially comes off as the first draft to what he would soon explore in Spawn, perfectly validates the critical praise he would earn over the years as one of the greatest artists in comic book history.
Micheline developed stories that allowed his artists to shine. Placing the spotlight on what could be the world’s most famous fictional couple and the ones drawing them. What once started in Michelinie’s Spectacular run— Indiana Jones, Bond-influenced adventurer; a thrill-seeking masked-man lost in real-world based war games. Once McFarlane comes on board for ‘Amazing’ in the late 80’s, the focus is on Peter, MJ, and their ever growing romance. Peter Parker shies away from the naive, friendly neighborhood teen of a by-gone era. Coming into the age of sex, drugs (okay...without the drugs but one can infer) and rock and roll. Mary Jane’s angelic red hair flows like a cape, stealing each panel. She is lascivious, and Peter, willing to let his guard down, embraces the spotlight amongst any de-virginized effect.
If Frenz made New York a character in-scale for Spidey’s web-slinging, McFarlane turns New York into the ominous city-scape that the hyper-mobile Spider-man was always meant to rise above. With webs that engulf him, empowered by a ‘Thwip!’ that chains. Maneuvering across a illimitable dark city, trailed by yellow lights that the moon and windows beam beyond the physically impossible poses of our hero; and amongst the most perfect, technically sound, detailed set design for the city dread. Under the mask, we see how McFarlane excels in the stylistic and exaggerated characteristics of his subjects. Wide-eyes, excessive lines, enlarged faces, cross-hatched for endowed expressions that make a bold statement. JJ has never looked so furious, Mary Jane so beautiful, and Peter so concerned. The pen, drenched in ink, lining an ellipse, almost armored protected face-mask. McFarlane’s art takes the concept of Spider-man being a street hero as serious as a comic hero can be.
In the alleys, on the rooftops, in central park where the spider stalks. Amongst the beauty of the iconic imagery of a hero unmasking the subtlety of human behavior. In #305, Spidey slowly takes the mask off Prowler (whom McFarlane borrowed heavily from in his creation of Spawn) in the middle of interrogation. Prime imagery against the vertical panel, placing focus to a part of the scene that would have been easy to gloss over. While subtle, the act of the Spidey’s hand pinching Hobie’s mask screams domination over the frightened Prowler— the desperate vigilante needs Spidey's help to save his wife. Yet bringsforth duel meanings to the scene besides what’s written in the bubble, for ‘Spidey is here to help you, but Spidey is here to to remind you who is boss.’ In issue 315, Eddie Brock feels guilty for extinguishing the guard after escaping his cell. Eddie/Venom is seen kissing the dead guard on top of his forehead. While most comic artists would depict the event with little or need for theatrics, nor any extraneous purpose of character, McFarlane brings forth a sense of attitude never seen in comics before. His unique style gives more meaning to what is simply written in the bubbles. The importance to how the panels are cut are now as significant to the overall artist’s design as the illustration themselves.
For the first time in Spider-man, dynamic usage of the ink and pencil is no longer saved for web-slinging and fights against unmatched villains in silly costumes; but for every panel in which Peter/Spidey is antagonized or playing the part of antagonizer. McFarlane alters the lens in how we have been viewing our hero for the past three hundred issues or so. He’s more mature, more flexible, more demeaning, and more violent. A hero who’s only attitude in the past came with glorified trapeze work and dad-like quips, is now smashing faces against headstones and interrogating bad men with little concern for consequence.
McFarlane, like Spidey, makes his presence known.
In #307, in Spidey’s search for the missing MJ amongst the pile of headstones that are marked: Ditko, Romero, Frenz, JRJR. The arrogance mimics the attitude Spidey has this go around. Symbolizing an end of a spiraling 80’s with what would foreshadow Image Comic’s definitive edge of the 90’s. Michelinie crafts a story that allows McFarlane to flourish. And for the benefit of the overall product, sacrifices a layered plot with a loose one for the young artist to play around with.
Not everything is superficial, however, for the pair pulls at the heart strings in issue #315. A fool for any christmas special who is charmed by some of the more classic Xmas tropes, and winter ambience to burrow along side the rekindling of the relationship with the first woman our hero has ever loved: his dear Aunt May. Mary Jane’s stalker arc, starring their powerful landlord, Jonathan Caesar, brings some horrifyingly sensitive and provocative themes we haven’t seen before in the main Spider-man line. Evident from his early work, and in his run at Valiant comics, Michelinie has the ability tell some pretty involved stories with some deep-seeded plot elements dealing in topical events and the increasingly polarizing political climate of the Regan era; but so much of the run’s success is how McFarlane works magic with Michelinie’s uncharacteristically broad scripts. Spider-man 300 is one of the best issues you’re ever going to read in main Marvel continuity without having much of a plot to go alongside it. Eddie Brock’s origin is slap-dash (a post-hoc explanation of events in “Death of Jean DeWolff” in which Eddie Brock capitalizes on the reporting of the false confessor), but it gives McFarlane free reign to attach the symbiote to an angry, tough guy like personality. The young artist puts Brock in some memorable poses: pumping iron, fuming over pinned clippings of Spider-man—every vein accentuated— and harassing MJ from the shadows. All of which lead to a climactic reunion on the bell tower where Spidey first freed himself from the same symbiote that has since taking control of Eddie Brock.
The more adventurous plots involving the Life Foundation, seen in #321-326, don’t work as well. Spidey is put through an array of environments with action that stifles McFarlane's neo-noir style. #302 and #303, and #321 onward, McFarlane seems pressed to just layout the story rather than detail it with his unique kinesthetic touch. If it’s Peter taking an internship in Kansas, or Peter's and MJ's escapades in the fictitious Symkaria, his best work is not in the country or in the Michelinie's imitation of Marrakesh, but rather on the grimy streets of New York City.
The highlight: Spider-man fights Styx and Stones above central park shows just what McFarlane can accomplish when solely focused on the Big Apple. McFarlane would go on to adopt his own stories in the 15 adjective-less, but actual amazing, Spider-man. His first solo act, which essentially comes off as the first draft to what he would soon explore in Spawn, perfectly validates the critical praise he would earn over the years as one of the greatest artists in comic book history.
This entire review has been hidden because of spoilers.
October 3, 2025
Can I just be the first to say, I am not the biggest fan of Todd McFarlen’s style of drawing comics. Not only is his style so buisy but he creates these really big panels where the characters don’t get enough focus. So it was hard for me to follow the story as intended as all the panels and images were all over the place.
As for the story itself, it was another mixed bag heavily effected my later adaptations. So many versions of this story are have done a lot more will Eddie Brok and the symbiote, but here, it just comes out of nowhere and we bearly know what Eddie is. Also, Venom’s design hasn’t matured yet so he kinda looks a bit off here. But I can only imagine what it must have been like to see him for the first time in the comics and seeing his design. But in his first appearance, it felt like just another enemy of Spider-Man. This issue was an extra 17 pages longer than other issues but it still felt under cooked. You can see how other versions expanded this story more over a longer period of time.
This was the first issue I read where Peter and Mary Jane are married and it was interesting. I liked the bit where Mary asks Peter to photograph her and he starts doing the sexy photographer voice. Even if you can’t hear his voice, you can hear in your head him being all aqerd. And then Mary besides to take all her clothes off so they can take some photos for there privet collection. This just reminded you of why Peter and MJ are the definitive Spider-Man couple and why One More Day was such a crime.
Over all, this was kind of disappointing for Venom’s first appearance. It still had some great moments in there but as a whole, it was underwhelming.
As for the story itself, it was another mixed bag heavily effected my later adaptations. So many versions of this story are have done a lot more will Eddie Brok and the symbiote, but here, it just comes out of nowhere and we bearly know what Eddie is. Also, Venom’s design hasn’t matured yet so he kinda looks a bit off here. But I can only imagine what it must have been like to see him for the first time in the comics and seeing his design. But in his first appearance, it felt like just another enemy of Spider-Man. This issue was an extra 17 pages longer than other issues but it still felt under cooked. You can see how other versions expanded this story more over a longer period of time.
This was the first issue I read where Peter and Mary Jane are married and it was interesting. I liked the bit where Mary asks Peter to photograph her and he starts doing the sexy photographer voice. Even if you can’t hear his voice, you can hear in your head him being all aqerd. And then Mary besides to take all her clothes off so they can take some photos for there privet collection. This just reminded you of why Peter and MJ are the definitive Spider-Man couple and why One More Day was such a crime.
Over all, this was kind of disappointing for Venom’s first appearance. It still had some great moments in there but as a whole, it was underwhelming.
February 6, 2022
I’m going to count every 6 issues as one ‘book’ since that’s typically the equivalent of a trade paperback. Finally picked up this start to finish read after a year or so off! Reading the Amazing Spider-Man from start to finish is a project I’m doing with my good friend John. Excited to get back into it - although right now each issue holds only very small connections to the issue before or after.
January 3, 2019
Muy bueno
Pero no se siento que le faltó algo, pero fuera de eso me gustó mucho sin duda uno de mis personajes favoritos
Pero no se siento que le faltó algo, pero fuera de eso me gustó mucho sin duda uno de mis personajes favoritos
June 30, 2024
Ricordo quando ero piccino e cercavo su Internet i disegni di questi fumetti perché mi piacevano troppo i design di Venom e Carnage. Mi piacciono molto ancora oggi.
April 15, 2025
This was a good book. I got it signed by Todd at Meg Khan. It’s one of my favorite Spider-Man books. Venom is one of my favorite villains so it was already gonna be a great book.
June 17, 2025
Very iconic in many ways. It's mad how great an adult Peter and MJ relationship is.
Displaying 1 - 15 of 15 reviews