Amazing Spider-Man Annual/King-Size Special #3. The Avengers and the Hulk

(Cover from November 1966.)

"...To Become An Avenger!"

Written by Stan Lee.

Layouts by John Romita.

Pencils by Don Heck.

Inks by Mickey Demeo.

Lettering by Artie Simek.

Bearing in mind The Avengers was originally conceived as Marvel's answer to The Justice League of America - a home for Marvel's mightiest solo stars - the lack of Spider-Man must've always seemed anomalous. But wise were the ways of Stan Lee and, in Amazing Spider-Man King Size Special #3, we find out just why.

The truth is Spidey's too big a jerk ever to be in a team. The old Peter Parker magic, the ability to always do and say the wrong thing in any circumstance, soon kicks in and, almost as soon as he's entered the Avengers' Mansion, he's having a barney with them. This ability to fall out with other do-righters is of course normal for a Marvel hero but, somehow, Peter Parker's always been better at it than anyone else. The qualities that made him unpopular in high school threaten, here, to sour his relations with the Avengers before they've even begun.

Happily, the Avengers have more patience than Flash Thompson ever did and set him a challenge. If he wants to join their little gang, he has to bring them the Hulk. Trouble is that having, at least temporarily, defeated the behemoth, he doesn't have the heart to hand the brute over. And so, as yet another tale ends, Spider-Man is once more alone in the world.

It's a pleasing tale, the personalities of the Avengers are clearly delineated and it's surprising to see the normally hot-headed Hawkeye being an avid Spider-Fan. The Wasp, needless to say, being an irrational female, is opposed on principle to having a spider in the house. Artist Don Heck's in one of his more readable moods and, with John Romita producing the layouts and Mickey Demeo/Esposito doing the inking, the thing looks fine. In fact it looks more than fine. Apart from the Hulk looking slightly off, it looks just like you'd want a meeting between Spidey and the old-style Avengers to look.

Interesting that our hero's able to deck the Hulk with just one blow, thanks to a rule Stan the Man suddenly pulls from thin air, that, in the first few minutes after the transformation from Bruce Banner, the Hulk's not at full strength. Was this idea ever mentioned before? Was it ever mentioned again? Not that I can recall.

Amazing Spider-Man #14. The Green Goblin, Enforcers and the Hulk

(Cover from July 1964.)

The Green Goblin"

Written by Stan Lee.
Drawn by Steve Ditko.
Inked by Steve Ditko.
Lettered by Art Simek.


Value for money. Sometimes you have to check what's behind it.

Seeing how much is crammed into this issue, I assumed the price must have gone up and Marvel Comics were making an effort to cram as much in as they could to justify it.

But not at all. A quick look at the cover tells us the price is still 12 cents. But, even if it had gone up, we can hardly be accused of being short changed this month. Not only do we get the debut of the Green Goblin. we get the return of the Enforcers and Spider-Man's first meeting with the Incredible Hulk.

It's the debut of the Green Goblin that is of course the main event in this tale - although, at the time, it must have seemed to readers that the Hulk's guest slot was the bigger deal. We, however, have the benefit of hindsight and the readers of 1964 didn't.

It's an odd plan the Goblin concocts, tricking Spider-Man into agreeing to appear in a movie so he and the Enforcers, posing as fellow cast members, can attack him. There's really no need for any of this charade, they could have attacked him easily enough anywhere and at any time and it's a plan that does rely on Spider-Man being unbelievably stupid. He's stood in a room with the Enforcers and doesn't recognise them as the real thing, convinced they're just actors pretending. It's a scenario worthy of the old Adam West Batman series in its unlikelihood.

But you suspect that Steve Ditko's clear love of having battles take place in not previously seen locations, like sculptor's studios and film sets, was coming into play here. It gives him an excuse to stick Spider-Man in a desert and then in cave, neither of which he was likely to encounter in Manhattan. It was also a convenient way to bring the Hulk into the story.

So, how does the Goblin fare on his debut?

He comes out of it pretty well. This being his first appearance, he's not yet developed the out-and-out psychotic nature of later years. Here he's merely an ambitious novice criminal out to get himself some power by defeating Spider-Man. But the fact that Spider-Man fails to defeat him and that, at the end of the tale, the Goblin still has his secret identity intact marks him out, even at this point, as a major villain of the future.

Sadly, not major villains of the future are the Enforcers, as out of their depth against Spider-Man as Spider-Man is against the Hulk. Despite their boast that they take orders from no one, they're never going to be anything more than lackeys for more important criminals. It has to be said that even if you hired the Enforcers for nothing, value for money is one thing you would never claim to be getting.

Amazing Spider-Man #120. The Hulk in Canada

(Cover from May 1973.)

"The Fight And The Fury!"

Words by Gerry Conway.

Pencils by Gil Kane.

Inks by John Romita/Tony Mortellaro.

Art assist by P. Reinman.

Lettering by Artie Simek.

Colours by Stan G.

Hard to believe that something the size of the Hulk might quickly become an irrelevance but, oddly enough, that's exactly what he is this issue. After all the big build up, last month, to the fight between the not-so-jolly green giant and the webbed wonder, this issue, he doesn't really need to be in it at all.

The core of the tale is this; Peter Parker goes to meet the mysterious lawyer Mssr Rimbaud, only for the solicitor to be shot before he can tell Peter what the big deal with his aunt is. All of which makes Spider-Man's twin meetings with the Hulk so much padding. Remove them and the outcome of the tale would be exactly the same. It's inevitable I suppose. Whatever Spidey's many attributes, he's never going to win a fight with the Hulk, so any action between the two can only be used as a temporary diversion in a wider plot.

On the art front, Gil Kane's back. His layouts this issue don't seem as imaginative as they have in the past but, of course, they still have all their usual polish and slickness.

Something that's oddly pleasing to me is the final panel on the page where the Hulk uproots a column and flings it at our hero. The depiction of the Hulk in that frame is remarkably Ditko-esque. I'm sure it's pure coincidence, just a natural overlap in styles but still, it's oddly pleasing to be reminded, at this late stage, of the strip's original artist.

How unlucky is Peter Parker? It's the second issue running where he happens to be in a vehicle that just happens to blunder straight into the path of the gamma-spawned monster. I mean, really, what're the chances?

Amazing Spider-Man #119. The Hulk in Canada

(Cover from April 1973.)

"The Gentleman's Name Is... The Hulk!"

Words by Gerry Conway.

Art by John Romita.

Lettering by John Costanza.

Colours by Andrea Hunt.

Spider-Man and the Hulk. Kindred spirits in so many ways. Both men of science. Both products of a radiation-based accident. Both misunderstood by a society that views them as a menace. Both of them Marvel big hitters.

Odd then that, up to this point, they'd met so rarely. In fact, off the top of my head, this is their first real encounter I can recall. Oh yeah, they met in Amazing Spider-Man #14 and Amazing Spider-Man King-Size Special #3 but, in both cases, their encounter was brief and only part of a bigger story (Spidey vs the Enforcers/Green Goblin, Spidey auditions for the Avengers). Here, they finally get a full-fledged battle to themselves.

And what a battle it is, as the Hulk and the military fling everything they've got at each other. There're times when Romita's ability to capture action is truly remarkable

But it's interesting to see Romita and Conway's take on the Hulk - and on General Thunderbolt Ross. It's a more violent view of both characters than we're used to from Jade Jaws' own mag. For instance, by this point in that strip's history, Ross had mellowed into a more thoughtful character, torn between a sense of guilt that he might have to kill his daughter's beloved, and a sense of duty to stop the Hulk before he causes a major catastrophe.

Not here he's not.

Here, he rants his way through the story - J Jonah Jameson style - in a portrayal that owes more to his original depiction in the early days of The Incredible Hulk comic.

As for the green one, here he's positively murderous in his rage. Not for Conway and Romita the tortured beast who only wants to sit on a log and play with the wildlife. Here, we have a creature that attacks everyone and everything in its path, with no regard at all for human life. At the story's close - as the Hulk's trying to kill him - Spidey declares that the behemoth doesn't want to hurt anyone, but the truth is that, in this tale, he seems to want to hurt everyone and everything. Even a dam!

Other points. The driver of the truck the Hulk attacks should be court-martialled on the spot if he can't see a ten foot tall, bright green man looming mere feet ahead of him. Also interesting to see that Spidey's webbing seems to have grown in strength dramatically, judging by the huge lump of rock it stops, mid-flight, and then sends zooming back to the Hulk.

Norman Osborn's acting a little strange this issue. Hmn. Wonder what that could mean?