What do you think?
Rate this book
Amazing Spider-Man Epic Collection
Amazing Spider-Man Epic Collection, Vol. 5: The Secret of the Petrified Tablet
Two of the fiercest crime lords in New York City are on a quest to decipher an ancient petrified tablet - whose secrets promise great power! It's an indisputable classic by two of Marvel's greatest creators, Stan Lee and John Romita Sr. -and that's not all they have in store! J. Jonah Jameson has the Daily Bugle working overtime to brand Spider-Man as Public Enemy Number One, the Prowler hits the scene, the Black Widow debuts her sultry new spy gear- and the origin of Peter's parents is revealed! Plus, the Kingpin comes back for more, and this time it's a family affair! Also featuring Gwen Stacy and the gang...whose heads are really going to turn when an ill Peter Parker strolls into a party in his Spider-Man costume!
COLLECTING: VOL. 5: AMAZING SPIDER-MAN(1963) 68-85, ANNUAL (1964) 5, 6 (COVER ONLY)
COLLECTING: VOL. 5: AMAZING SPIDER-MAN(1963) 68-85, ANNUAL (1964) 5, 6 (COVER ONLY)
456 pages, Paperback
First published February 12, 2020
17 people are currently reading
171 people want to read
About the author
Stan Lee
7,563 books2,348 followersStan Lee (born Stanley Martin Lieber) was an American writer, editor, creator of comic book superheroes, and the former president and chairman of Marvel Comics.
With several artist co-creators, most notably Jack Kirby and Steve Ditko, he co-created Spider-Man, the Fantastic Four, Thor as a superhero, the X-Men, Iron Man, the Hulk, Daredevil, the Silver Surfer, Dr. Strange, Ant-Man and the Wasp, Scarlet Witch, The Inhumans, and many other characters, introducing complex, naturalistic characters and a thoroughly shared universe into superhero comic books. He subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation.
With several artist co-creators, most notably Jack Kirby and Steve Ditko, he co-created Spider-Man, the Fantastic Four, Thor as a superhero, the X-Men, Iron Man, the Hulk, Daredevil, the Silver Surfer, Dr. Strange, Ant-Man and the Wasp, Scarlet Witch, The Inhumans, and many other characters, introducing complex, naturalistic characters and a thoroughly shared universe into superhero comic books. He subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 17 of 17 reviews
July 10, 2020
Stan Lee’s Spidey run is a balm for the soul, not just because it’s a nostalgic delight, but also because it’s a masterclass in character-driven comics that expertly balances smash-and-bash superheroics with the drama of early adulthood, from family commitments and romantic entanglements to academic obligations and social life challenges.
There’s been a backlash against Stan in recent years vis-à-vis the amount of creative credit he got relative to his artistic collaborators (and rightfully so, in many instances), but the common thread in a run of artists that includes luminaries such as Steve Ditko, John Romita, John Buscema, and Jim Mooney, is Stan. Sure, the dated slang can be a little grating and the overwrought melodrama can, on occasion, scale heights that would make even Charles Dickens cringe, but the humor, heart, and excitement of early Spidey makes it, for my money, one of the greatest examples of what superhero comics can be at their best.
(Then again, I may just be in dire need of literary comfort food as a result of the world essentially setting itself on fire this year, so there’s that. Still, this is quality no matter how you slice it. If you dig the spandex set and have any appreciation for the history of the medium, Stan’s Spidey issues are a treasure trove.)
There’s been a backlash against Stan in recent years vis-à-vis the amount of creative credit he got relative to his artistic collaborators (and rightfully so, in many instances), but the common thread in a run of artists that includes luminaries such as Steve Ditko, John Romita, John Buscema, and Jim Mooney, is Stan. Sure, the dated slang can be a little grating and the overwrought melodrama can, on occasion, scale heights that would make even Charles Dickens cringe, but the humor, heart, and excitement of early Spidey makes it, for my money, one of the greatest examples of what superhero comics can be at their best.
(Then again, I may just be in dire need of literary comfort food as a result of the world essentially setting itself on fire this year, so there’s that. Still, this is quality no matter how you slice it. If you dig the spandex set and have any appreciation for the history of the medium, Stan’s Spidey issues are a treasure trove.)
August 29, 2020
This collection was a blast to read. I had a few of the issues in the story arc of the petrified tablet when I was a kid, but I didn't have the concluding issue wrapping the story up. When I saw this Epic Collection in the store it was a no-brainer to buy it. This book collects issues #68 thru #85 from the years 1968 to 1970. These were tumultuous years in U.S. and the book touches on a few of the issues of the day - Racism, war, inequality. Sadly not much has changed. Peter Parker is in college, his girlfriend is Gwen Stacy, his roommate is Harry Osborn. He's broke, in love and always out of luck. The Kingpin appears a few times, along with The Shocker (pffft), The Lizard, The Chameleon, Electro, The Prowler, and...The Kangaroo. Doc Ock is missing though.
April 30, 2020
There's some good stuff here, especially the titular story arc, which weaves together multiple villains and sideplots through 7 or 8 issues, introducing the Maggia and a new gang rivalry, while also bringing in the Lizard. On the other hand, there's... the Kangaroo, who gives Stilt Man a run for his money as far as ridiculius villains go. I mean, most comic villains of the era are pretty silly, but this guy basically fills the same wild-man niche as Kraven does far better, and his origin is so, so stupid. He doesn't have powers or anything, he's just an Aussie who... hung out with kangaroos? More than the silly setup, though, his motivation just isn't very compelling, and his powerset doesn't really bring anything new to the table. If the concept weren't so silly, he'd be completely forgettable.
Apparently readers back in the day didn't like continuing stories, so after the titular arc it goes back to standalone stories with some two-parters. It introduces the Prowler, who's a pretty decent villain, though not quite as compelling as the second iteration of the character. The Schemer is pretty lame, though the twist is ok I guess. The writing has some strong points, especially Stan's writing of black characters, which is honestly probably more racially conscious than some writers today, even. On the other hand, some of the structural elements are getting pretty repetitive. The villain shows up, we see their origin/the last time they fought spidey, they declare "No one can stop-- ____!" in a single panel with them posing dramatically, spidey gets punched and says "oh man, I forgot how quick/strong ___ was", along with lots of "bet you didn't expect me to use my ___". While somewhat charming at times, this formula really needs some shaking up.
Which this book does do, on occasion. The school protest arc is pretty interesting and topical, as with the racial divides it deals with (despite the occasional "white people aren't all bad!" defenses). I wish I could say the same for how the book deals with gender, though. If I had a nickle for everytime Stan wrote "females just think with their emotions!"... oh boy, it would make up for me not being able to work this summer. Spidey sounds like a straight-up incel sometimes.
The description states "...featuring Gwen Stacy and the gang...whose heads are really going to turn when an ill Peter Parker strolls into a party in his Spider-Man costume!", which is odd since that doesn't happen until issue #87, which isn't in this compilation. Maybe it was originally intended to be there but they cut it and didn't change the blurb? Anyway, this is still a pretty entertaining romp, and the art is great as always, but the formula is wearing a bit thin after 8 years and 80 issues.
Apparently readers back in the day didn't like continuing stories, so after the titular arc it goes back to standalone stories with some two-parters. It introduces the Prowler, who's a pretty decent villain, though not quite as compelling as the second iteration of the character. The Schemer is pretty lame, though the twist is ok I guess. The writing has some strong points, especially Stan's writing of black characters, which is honestly probably more racially conscious than some writers today, even. On the other hand, some of the structural elements are getting pretty repetitive. The villain shows up, we see their origin/the last time they fought spidey, they declare "No one can stop-- ____!" in a single panel with them posing dramatically, spidey gets punched and says "oh man, I forgot how quick/strong ___ was", along with lots of "bet you didn't expect me to use my ___". While somewhat charming at times, this formula really needs some shaking up.
Which this book does do, on occasion. The school protest arc is pretty interesting and topical, as with the racial divides it deals with (despite the occasional "white people aren't all bad!" defenses). I wish I could say the same for how the book deals with gender, though. If I had a nickle for everytime Stan wrote "females just think with their emotions!"... oh boy, it would make up for me not being able to work this summer. Spidey sounds like a straight-up incel sometimes.
The description states "...featuring Gwen Stacy and the gang...whose heads are really going to turn when an ill Peter Parker strolls into a party in his Spider-Man costume!", which is odd since that doesn't happen until issue #87, which isn't in this compilation. Maybe it was originally intended to be there but they cut it and didn't change the blurb? Anyway, this is still a pretty entertaining romp, and the art is great as always, but the formula is wearing a bit thin after 8 years and 80 issues.
February 6, 2025
The Parents of Peter Parker! (originally published November 1968 in The Amazing Spider-Man Annual #5)
A non-linear narrative? In my Silver Age superhero comic!?
It took like, six years to finally address the question of Peter's parents beyond the infrequent passing mention. What better way to do so than in a double-size annual? Well, I think the best way to address was probably by just not doing so, but...
Like the previous annual, it's pencilled by Larry Lieber rather than John Romita. Peter's parents rarely get mentioned in the future, likely because of the implications their status have on Peter's status as an everyman. This story also causes continuity issues with the Red Skull.
On its own, outside of continuity concerns and what this means for Peter's character, the story itself is fine, but nothing special. The final few pages are padded out with the odds and sodds of Marvel annuals of the time. 3/5
Crisis on the Campus! (originally published January 1969 in The Amazing Spider-Man #68)
Throughout this era, John Romita would flip-flop between doing full pencils, and doing breakdowns/layouts/storyboards while another artist handled penciling. This would begin a stretch of the latter, while Jim Mooney handled pencils. The art of course suffers for it.
Anyway, Stan gets to flex his comedic chops in this issue, because there is lots of funny dialogue. The story involving protests on campus at Empire State University is predictably clunky, with a radical black activist using terms like "whitey." It would only get more awkward from here. The Kingpin angle in the story is fairly clever though, and there's a good cliffhanger when he gets away with the MacGuffin. 3/5
Mission: Crush the Kingpin! (originally published February 1969 in The Amazing Spider-Man #69)
Very good issue! Subtlety is not Stan's strong suit, and it shows in the parts of the story with Robbie and Randy, but the fight scenes with Kingpin that the issue is packed with are great, as is Gwen's characterization. She's not the docile girly that she's often portrayed as here.
At the end of the story, Spidey learns that ACAB. I'm guessing there was some loosening of some of the Comics Code Authority policies since police are finally able to be portrayed as opposition. 4/5
Spider-Man Wanted! (originally published March 1969 in The Amazing Spider-Man #70)
The radical black character continues to be handled awkwardly. The Kingpin cliffhanger gets wrapped up nicely, but there's a big happening at the end which creates another cliffhanger, getting Spidey in deeper with the cops, and it's a bit silly. 3/5
The Speedster and the Spider (originally published April 1969 in The Amazing Spider-Man #71)
Spider-Man is officially a fugitive, and Quicksilver gets tangled up trying to redeem himself fresh off a story from an issue of The Avengers. The big happenings from the previous issue are rendered meaningless a mere month later, and the fight with Quicksilver feels like a throwaway. Stan went hard with the plot armor; as this is a adversary who should realistically be able to take Spidey apart easily. This issue's only purpose seemingly is to wrap up everything from the previous arc. 2/5
Rocked by the Shocker! (originally published May 1969 in The Amazing Spider-Man #72)
Shocker is back to nab the MacGuffin so it can continue to be used as a plot point. The brawl with him is a nothingburger, as Spidey's opossum trick from the last arc is lazily re-used. In the background, there's some Gwen-Flash drama.
The art is noticeably weaker in this issue than the surrounding ones, which leads me to believe that Romita's contributions were even more minimal. It does include one excellent panel that I often use as a reaction image ("I'll give you a hint, man..."), so it's got that going for it. 3/5
The Web Closes! (originally published June 1969 in The Amazing Spider-Man #73)
This issue follows up on the MacGuffin theft from the previous one. That stuff is a lot more interesting than the showdown with the forgettable villain-of-the-month (some guy called "Man Mountain Marko"). The coloring of the black characters remind of how they were colored earlier on in the Marvel universe, when the writers/artists first realized black people exist and finally began including them. 3/5
If This Be Bedlam! (originally published July 1969 in The Amazing Spider-Man #74)
Dr. Connors returns, to be forced to decipher the tablet (the arc's MacGuffin), and Harry Osborn inexplicably gets a Fu Manchu mustache. This is a weird issue with no supervillain fight, although a new one is born at the end. 3/5
Death Without Warning! (originally published August 1969 in The Amazing Spider-Man #75)
The tablet stuff comes to a head, the Lizard is reborn, the new villain ("Silvermane") proves to be short-lived (although he'd eventually be brought back), and it ends on a lizardy cliffhanger. This is an issue where the layouts and typography really begin to stick out as becoming more modern. 3/5
The Lizard Lives! (originally published September 1969 in The Amazing Spider-Man #76)
John Buscema is the substitute penciller here, with Romita completely absent and Mooney relegated to inking. It would be that way for the next few issues. This story has a great set-up, raises stakes in interesting ways, and ends on an excellent cliffhanger that gives the next story great potential. 4/5
In the Blaze of Battle! (originally published October 1969 in The Amazing Spider-Man #77)
Last month's cliffhanger is resolved a bit anticlimactically. This is also a rare issue in which the entire supporting cast (Aunt May, Jameson, Gwen, Mary Jane, Harry, etc.) are all totally MIA. 3/5
The Night of the Prowler! (originally published November 1969 in The Amazing Spider-Man #78)
Romita gets a credit here not for pencils or breakdowns, but for the idea of the Prowler, who makes his debut. The story ends with a similar hook as #76, and the art is very weak. The new and iconic character is a major saving grace. 3/5
To Prowl No More! (originally published December 1969 in The Amazing Spider-Man #79)
This issue begins with a blurb about how continuing stories and cliffhangers are going away for the most part, and notes that this was initially planned to be a three issue arc that has now been shortened to two. Basically, they're wrapping it up as quickly as possible given the new company policy, which would water the stories down and make already simplistic yarns even more simplistic.
Everything feels rushed, but it is kinda interesting to see a hero and villain end their fight by basically coming to an agreement. 3/5
On the Trail of the Chameleon! (originally published January 1970 in The Amazing Spider-Man #80)
This issue begins with Peter Parker acting like a silverback gorilla, the word "memento" is spelled incorrectly in the middle, and the end is stupid too. In a turn of events that should have spoiled Pete's secret identity bit, no one even considers the possibility that he is Spider-Man. 2/5
The Coming of the Kangaroo! (originally published February 1970 in The Amazing Spider-Man #81)
Romita is back in the credits, but it's not being specified what he actually does.
Despite Kangaroo being a poster boy for Spidey's more ridiculous animal-themed rogues, the conflict between the two characters is an actually decent one with a moderately clever hook that makes the fight interesting. That said, all of the lazy tropes are pulled out for the Aunt May B-plot. Stan writes her as such a screeching dish rag. Normally, this type of story would have ended on a cliffhanger, but per the new policy, they have to wrap it up. 2/5
And Then Came Electro! (originally published March 1970 in The Amazing Spider-Man #82)
Romita does full pencils for the first time in a long time, Harry Osborn makes an appearance for the first time in a long time (and shaves the 'stache, we hardly knew ya!), and for the first time outside of the Spectacular magazine stories, I'm starting to notice a goodly amount of periods in Stan's dialogue. Typically, he'd end everything with an exclamation point.
Romita's art is of course very good and the story is decent up until the third act. I can't help but think it would have been much better as a two-parter, because the fight with Electro feels rushed and anticlimactic. 3/5
The Schemer! (originally published April 1970 in The Amazing Spider-Man #83)
Romita once again handles full pencils here, before falling back into a limited role for the final two issues of this collection. This is a good, solid issue despite how forgettable the Schemer is. The soap operatic elements are handled well, and they're ultimately the biggest thing that keeps me coming back for more. 3/5
The Kingpin Strikes Back! (originally published May 1970 in The Amazing Spider-Man #84)
The Kingpin is fully re-introduced after being teased in #83. He tangles with the Schemer in what is a very solid story. Per the new policy, there are no hard cliffhangers, but this issue builds off the previous one well and leads directly into the next one. 3/5
The Secret of the Schemer! (originally published June 1970 in The Amazing Spider-Man #85)
This issue has it all: it begins by resolving a loose thread from the previous story in a very anticlimactic way, continues with ridiculous developments for Gwen and Captain Stacy, and ends with a plot twist anyone could guess from a mile away. 2/5
A non-linear narrative? In my Silver Age superhero comic!?
It took like, six years to finally address the question of Peter's parents beyond the infrequent passing mention. What better way to do so than in a double-size annual? Well, I think the best way to address was probably by just not doing so, but...
Like the previous annual, it's pencilled by Larry Lieber rather than John Romita. Peter's parents rarely get mentioned in the future, likely because of the implications their status have on Peter's status as an everyman. This story also causes continuity issues with the Red Skull.
On its own, outside of continuity concerns and what this means for Peter's character, the story itself is fine, but nothing special. The final few pages are padded out with the odds and sodds of Marvel annuals of the time. 3/5
Crisis on the Campus! (originally published January 1969 in The Amazing Spider-Man #68)
Throughout this era, John Romita would flip-flop between doing full pencils, and doing breakdowns/layouts/storyboards while another artist handled penciling. This would begin a stretch of the latter, while Jim Mooney handled pencils. The art of course suffers for it.
Anyway, Stan gets to flex his comedic chops in this issue, because there is lots of funny dialogue. The story involving protests on campus at Empire State University is predictably clunky, with a radical black activist using terms like "whitey." It would only get more awkward from here. The Kingpin angle in the story is fairly clever though, and there's a good cliffhanger when he gets away with the MacGuffin. 3/5
Mission: Crush the Kingpin! (originally published February 1969 in The Amazing Spider-Man #69)
Very good issue! Subtlety is not Stan's strong suit, and it shows in the parts of the story with Robbie and Randy, but the fight scenes with Kingpin that the issue is packed with are great, as is Gwen's characterization. She's not the docile girly that she's often portrayed as here.
At the end of the story, Spidey learns that ACAB. I'm guessing there was some loosening of some of the Comics Code Authority policies since police are finally able to be portrayed as opposition. 4/5
Spider-Man Wanted! (originally published March 1969 in The Amazing Spider-Man #70)
The radical black character continues to be handled awkwardly. The Kingpin cliffhanger gets wrapped up nicely, but there's a big happening at the end which creates another cliffhanger, getting Spidey in deeper with the cops, and it's a bit silly. 3/5
The Speedster and the Spider (originally published April 1969 in The Amazing Spider-Man #71)
Spider-Man is officially a fugitive, and Quicksilver gets tangled up trying to redeem himself fresh off a story from an issue of The Avengers. The big happenings from the previous issue are rendered meaningless a mere month later, and the fight with Quicksilver feels like a throwaway. Stan went hard with the plot armor; as this is a adversary who should realistically be able to take Spidey apart easily. This issue's only purpose seemingly is to wrap up everything from the previous arc. 2/5
Rocked by the Shocker! (originally published May 1969 in The Amazing Spider-Man #72)
Shocker is back to nab the MacGuffin so it can continue to be used as a plot point. The brawl with him is a nothingburger, as Spidey's opossum trick from the last arc is lazily re-used. In the background, there's some Gwen-Flash drama.
The art is noticeably weaker in this issue than the surrounding ones, which leads me to believe that Romita's contributions were even more minimal. It does include one excellent panel that I often use as a reaction image ("I'll give you a hint, man..."), so it's got that going for it. 3/5
The Web Closes! (originally published June 1969 in The Amazing Spider-Man #73)
This issue follows up on the MacGuffin theft from the previous one. That stuff is a lot more interesting than the showdown with the forgettable villain-of-the-month (some guy called "Man Mountain Marko"). The coloring of the black characters remind of how they were colored earlier on in the Marvel universe, when the writers/artists first realized black people exist and finally began including them. 3/5
If This Be Bedlam! (originally published July 1969 in The Amazing Spider-Man #74)
Dr. Connors returns, to be forced to decipher the tablet (the arc's MacGuffin), and Harry Osborn inexplicably gets a Fu Manchu mustache. This is a weird issue with no supervillain fight, although a new one is born at the end. 3/5
Death Without Warning! (originally published August 1969 in The Amazing Spider-Man #75)
The tablet stuff comes to a head, the Lizard is reborn, the new villain ("Silvermane") proves to be short-lived (although he'd eventually be brought back), and it ends on a lizardy cliffhanger. This is an issue where the layouts and typography really begin to stick out as becoming more modern. 3/5
The Lizard Lives! (originally published September 1969 in The Amazing Spider-Man #76)
John Buscema is the substitute penciller here, with Romita completely absent and Mooney relegated to inking. It would be that way for the next few issues. This story has a great set-up, raises stakes in interesting ways, and ends on an excellent cliffhanger that gives the next story great potential. 4/5
In the Blaze of Battle! (originally published October 1969 in The Amazing Spider-Man #77)
Last month's cliffhanger is resolved a bit anticlimactically. This is also a rare issue in which the entire supporting cast (Aunt May, Jameson, Gwen, Mary Jane, Harry, etc.) are all totally MIA. 3/5
The Night of the Prowler! (originally published November 1969 in The Amazing Spider-Man #78)
Romita gets a credit here not for pencils or breakdowns, but for the idea of the Prowler, who makes his debut. The story ends with a similar hook as #76, and the art is very weak. The new and iconic character is a major saving grace. 3/5
To Prowl No More! (originally published December 1969 in The Amazing Spider-Man #79)
This issue begins with a blurb about how continuing stories and cliffhangers are going away for the most part, and notes that this was initially planned to be a three issue arc that has now been shortened to two. Basically, they're wrapping it up as quickly as possible given the new company policy, which would water the stories down and make already simplistic yarns even more simplistic.
Everything feels rushed, but it is kinda interesting to see a hero and villain end their fight by basically coming to an agreement. 3/5
On the Trail of the Chameleon! (originally published January 1970 in The Amazing Spider-Man #80)
This issue begins with Peter Parker acting like a silverback gorilla, the word "memento" is spelled incorrectly in the middle, and the end is stupid too. In a turn of events that should have spoiled Pete's secret identity bit, no one even considers the possibility that he is Spider-Man. 2/5
The Coming of the Kangaroo! (originally published February 1970 in The Amazing Spider-Man #81)
Romita is back in the credits, but it's not being specified what he actually does.
Despite Kangaroo being a poster boy for Spidey's more ridiculous animal-themed rogues, the conflict between the two characters is an actually decent one with a moderately clever hook that makes the fight interesting. That said, all of the lazy tropes are pulled out for the Aunt May B-plot. Stan writes her as such a screeching dish rag. Normally, this type of story would have ended on a cliffhanger, but per the new policy, they have to wrap it up. 2/5
And Then Came Electro! (originally published March 1970 in The Amazing Spider-Man #82)
Romita does full pencils for the first time in a long time, Harry Osborn makes an appearance for the first time in a long time (and shaves the 'stache, we hardly knew ya!), and for the first time outside of the Spectacular magazine stories, I'm starting to notice a goodly amount of periods in Stan's dialogue. Typically, he'd end everything with an exclamation point.
Romita's art is of course very good and the story is decent up until the third act. I can't help but think it would have been much better as a two-parter, because the fight with Electro feels rushed and anticlimactic. 3/5
The Schemer! (originally published April 1970 in The Amazing Spider-Man #83)
Romita once again handles full pencils here, before falling back into a limited role for the final two issues of this collection. This is a good, solid issue despite how forgettable the Schemer is. The soap operatic elements are handled well, and they're ultimately the biggest thing that keeps me coming back for more. 3/5
The Kingpin Strikes Back! (originally published May 1970 in The Amazing Spider-Man #84)
The Kingpin is fully re-introduced after being teased in #83. He tangles with the Schemer in what is a very solid story. Per the new policy, there are no hard cliffhangers, but this issue builds off the previous one well and leads directly into the next one. 3/5
The Secret of the Schemer! (originally published June 1970 in The Amazing Spider-Man #85)
This issue has it all: it begins by resolving a loose thread from the previous story in a very anticlimactic way, continues with ridiculous developments for Gwen and Captain Stacy, and ends with a plot twist anyone could guess from a mile away. 2/5
February 1, 2024
Gems include Spidey v. Red Skull in Algiers, Peter & Kingpin cross a picket, Robbie gets accused of selling out, Spidey gives JJJ a heartattack, Spidey v. Quicksilver, JJJ gets tranqed, Silvermane captures Curt Connors, Silvermane backhands Man Mt. Marko, Silvermane gets more than he bargained for, Lizard chokes out Spidey w/ his tail, Spidey v. Torch v. Lizard, Prowler burgles the Bugle, Spidey lets the Prowler off, Spidey decks Peter, Spidey v. Kangaroo, Peter does his Spider-laundry w/ a bag over his head, Vanessa confronts Kingpin, Schemer sleeps in his car, & Schemer’s identity revealed
This entire review has been hidden because of spoilers.
December 10, 2022
These comics really do keep getting better and better. After reading 85 issues of the original Spider-Man comics I can say they really do stand the test of time. What makes this volume great are the early 70s references since it's collecting the year 1969 to 1970. I also like that it's more in tune with how I know Spider-Man. He is actually taking down gang members and gang lords instead of some generic costumed villain. The other part that I liked are the Vietnam and Civil Rights era references. Spider-Man is really a man of the people. Spider-Man is definitely a comrade.
December 8, 2024
I'm really loving this era of spiderman. I really enjoyed the overarching story of the petrified tablet, and how it set up some of the stories that came after. A lot of the kingpin in this book, which I liked, but we still got some other classic villains appearances from electro and lizard. Artwork was really solid too.
August 16, 2020
This, along with the prior volume, is peak Spidey. So many legendary villains appear that it's almost amusing when one of he's confronted by one his forgotten opponents (the fiendish Kangaroo!). They don't make 'em like this anymore.
December 13, 2022
Spider-Man is moving slowly but surely into the bronze age of comics. Social issues are becoming plot points and every sentence no longer ends with an exclamation mark. The writing can still be pretty corny, though.
May 24, 2021
- o primeiro arco com o kingpin é muito bom,ele é um vilao muito interessante
-ao mesmo tempo a correr no fundo tem uma trama bem política acontecendo (negros vs sistema) não é só coisa de agora
- crossover com mercúrio e tocha humana
-estreia do vilao marko o homem montanha e o cabelo de prata (humanos q batem no aranha) , Prowler o gatuno , canguru , o planejador
- revelação dos pais de Parker e caveira vermelha
-ao mesmo tempo a correr no fundo tem uma trama bem política acontecendo (negros vs sistema) não é só coisa de agora
- crossover com mercúrio e tocha humana
-estreia do vilao marko o homem montanha e o cabelo de prata (humanos q batem no aranha) , Prowler o gatuno , canguru , o planejador
- revelação dos pais de Parker e caveira vermelha
June 4, 2021
Meh. Stan and Jazzy John liked gangsters and mobsters as foes for Spidey way more than I do.
September 5, 2024
kocham peter parker
November 10, 2025
A solid collection of Peter Parker/Spidey stories!
July 11, 2024
Really nice collection of early Spidey stories. Found myself reading issue after issue!
June 12, 2024
The university-themed cover of this volume might be my favorite all-time Spidey comic book cover. At times, Lee and Romita Sr. became more than a little formulaic, however, I still find their version of Spider-Man the definitive style and representation even after all these decades.
April 5, 2024
This volume starts to show the strains of the formula. Each issue feels like it has to run down a checklist of ongoing storylines to check in on and make the most incremental of progress on. This ends up giving the entire collection the feeling of being rather monotone. There are some relatively cool villains introduced, and some that are clearly phoned-in.
Thankfully, there are a lot of clever moments that stand out to make a lot of the monotony more worth it. This is helped by the truncated panel count and generally higher simplicity of the plotlines, so it’s a breezier read.
Overall, in spite of a harder lean into the cartoonish and formulaic, there’s still something of value to those who appreciated the prior volumes.
Thankfully, there are a lot of clever moments that stand out to make a lot of the monotony more worth it. This is helped by the truncated panel count and generally higher simplicity of the plotlines, so it’s a breezier read.
Overall, in spite of a harder lean into the cartoonish and formulaic, there’s still something of value to those who appreciated the prior volumes.
November 16, 2022
Tretas em família!
O Peter dá muito na pinta que é o Miranha e o sogrão tá de butuca.
A Gwen fica de faisquinha na relação mas isso só apimenta mais.
Tem também a aparição do primeiro homem-aranha negro! Não é o Miles ainda, mas o primeiro personagem na Marvel pelo Romitinha.
E claro, uma gigantesca intriga de famiglia com os Fisk.
Vida eterna que nada, vida de casal é mais complicada.
É como se mais um chefão de jogo fosse colocado pra escanteio depois de várias mini sagas que concluem em um épico.
O Peter dá muito na pinta que é o Miranha e o sogrão tá de butuca.
A Gwen fica de faisquinha na relação mas isso só apimenta mais.
Tem também a aparição do primeiro homem-aranha negro! Não é o Miles ainda, mas o primeiro personagem na Marvel pelo Romitinha.
E claro, uma gigantesca intriga de famiglia com os Fisk.
Vida eterna que nada, vida de casal é mais complicada.
É como se mais um chefão de jogo fosse colocado pra escanteio depois de várias mini sagas que concluem em um épico.
Displaying 1 - 17 of 17 reviews