Marvel Read-Through: The Goblin’s Last Stand
Amazing Spider-Man #121 is one of the defining moments of comic book history. The death of Gwen Stacy changed everything. It is a symbolic end of the Silver Age and start of the Bronze Age, when mainstream superhero comics began to explore darker topics and explored social topics with the loosening of the Comics Code Authority rules. Of course, I’m not quite there just yet.
I lied when I said I was done with the 60s; I actually had one issue from 1968 to read for this post: Spectacular Spider-Man Magazine #2. At 58 pages, this was a treat. I am left wondering why such an important story was published in a separate book than the main Amazing Spider-Man but the magazine format allowed for an expanded story that was the perfect welcome back to Spidey’s world. The extra length gave this issue time to catch me up on everything going on in Peter’s life: he’s dating Gwen Stacy and has a good relationship with her father, NYPD Captain George Stacy, he is best friends with Harry Osborn (who is dating Mary Jane) and has a good relationship with his dad Norman, who still has amnesia and cannot remember that he is the Green Goblin nor that Peter is Spider-Man. That is, until he starts to remember the past after seeing some pictures of Spidey and the Goblin’s last fight. This issue followed Norman regaining his Goblin identity and subsequently going after Peter (and once again conveniently getting amnesia). It was classic comic book fun. Stan is still absolutely killing it with Spider-Man and Romita’s art is beautiful. Now that the introduction to the next chapter of Spidey’s life is over, let’s get into it.
In a quick detour before heading into the important parts of Peter’s story, I got to witness the return of Black Widow, along with the introduction of her classic costume. Amazing Spider-Man #86 was a fun issue, and I am very happy to finally see the Black Widow that I know. No more silly costume and Hawkeye romance, this is the real Black Widow and she kicks ass. Upon further research I was saddened to learn that her solo series only lasted a few issues and then she became a permanent member of the Daredevil cast. I was then happy to learn that she gets her name on the cover, sharing the title with Daredevil for a large chunk of time. I never knew this and it’s awesome. I won’t be reading much of that series until long after Black Widow leaves, but it’s nice to know she got a starring role. I hope she appears more as an Avenger throughout the 70s so I can see more of her.
Even though I only read a few issues that included Captain Stacy in them, issues #88–91 depicting his death and aftermath hit pretty hard. His fatherly role in Peter’s life was very well defined by Stan’s writing, in fact it really is the cast of characters around Peter and the drama of his personal life that make this book stand out. It’s not just a superhero book, it’s a personal drama based on characters dressed up as one of the greatest superhero books of all time. Peter’s personal life is centre stage as opposed to his superhero life which only takes the spotlight for the action sequences. Even then, it always comes back to how his double life affects his relationships. This is amplified by a fight with Dr. Octopus resulting in the death of Gwen’s father, not to mention that the public blames Spidey for it. The three issues of Spidey vs. Doc Ock were great, but it’s the aftermath in the fourth issue of this arc that cemented this storyline as one of the most important in Spider-Man’s history. He loses another father-figure and it turns Gwen against Spider-Man while Peter is caught in the middle. He can’t tell her the truth but he still loves her. It was a fascinating study of the characters, especially since George’s last words revealed he knew Peter’s secret identity and asked him to take care of Gwen. These characters are complex and the way the book focuses on them as people beyond the fantastical superhero life is what has made it such a cornerstone of pop culture.
One of the things that held comics back from more mature topics and from tackling relevant issues was the Comics Code Authority. 1971 brought an update to the code, allowing sympathetic depictions of villains, provided they still get their comeuppance, as well as supernatural characters such as werewolves and vampires. Having been asked by the Nixon administration to run a story with an anti-drug message, Stan wrote the classic Green Goblin Reborn. The CCA did not allow illegal drugs in comics, but Stan decided to go ahead and break the rules, releasing three issues that were not certified by the CCA. The success of this arc led to an update of the CCA which allowed for depictions of drugs, provided they were negative. This is why issues #96–98 are a must-read simply for the historical significance in the comic book industry.
Before I get into the impact on the characters, I have to explore the anti-drug message in this arc. It is not subtle at all. Dialogue after dialogue after thought bubble pointed out the dangers of illegal drugs that it felt like they hid a PSA in a Spider-Man comic, which is why it is so wild to me that the CCA wouldn’t approve it. There was nothing about this story that made drugs seem even the slightest bit tempting and the CCA seal of approval, which up to this point had been on the cover of every issue I’ve read since its introduction, was still missing from the covers. It really was a different time for censorship. It’s a pretty standard anti-drug message that I’ve seen in media targeting children my entire life. I’m not saying this negatively at all, I’m just surprised that even such a clear anti-drug message was deemed too explicit to print in 1971.
Beyond, the “drugs are bad” message, there was one specific moment where the gang’s friend Randy, an African-American, argues with Norman about the impact of drugs on the black community and the way they are viewed in relation to drugs. It was a very sympathetic look at the problem, and struck me as such a transitional moment into the Bronze Age. Stan didn’t have to include this, but he did and showed that comics could take on the issues of the day.
This arc also had a lasting impact on the characters. It was Harry’s first foray into drugs, which becomes the focus of his storyline for the next few years. I didn’t like that Mary Jane spends the whole time flirting with Peter to make Harry jealous. With decades more of history, I love Mary Jane, but in these issues she came off as petty and selfish. It also has Norman’s memory returning resulting in a Green Goblin — Spider-Man rematch that leaves Norman with amnesia once again. Honestly, the ending bugged me. It seems too convenient for every battle with the Goblin to result in amnesia for Norman and this time it was brought on simply by seeing Harry in bed sick from an overdose, which felt very contrived. I’m curious to see how Norman would have played a part in Peter’s life with the knowledge of both of their identities, but instead we got the same old ending.
Next up, I read issues #100–102, commonly known as The Six Arms Saga. At first, I wasn’t planning on reading this arc, even thought many consider it a classic, but then I learned it was the introduction of Morbius so I had to check it out. While not being a vampire on the same level as Dracula, who will become a Marvel villain soon enough, Morbius is almost a vampire, taking advantage of the updates to the CCA. Stan hands over writing duties to Roy Thomas for the last two issues in this arc, and he does a fine job of carrying the torch just as he has in other major titles so far. It’s a fun arc that screams Silver Age mixed with Bronze Age. I enjoyed it.
And now, the big one: Amazing Spider-Man #121 (and #122). Gerry Conway, the title’s latest writer, cemented his place in comic book history by killing Gwen Stacy (and the Green Goblin). There’s not a lot to say about these two issues that hasn’t already been said. #121 is one of the most important comic books of all time and the continuation in #122 is icing on the cake. Of course, I knew what was going to happen, so I can only imagine picking up the monthly Amazing Spider-Man issue and the shock of getting to the last couple of pages to read Gwen Stacy’s death. American comic books were never the same after this: heroes could now lose. Beyond the shock value and the major death, Conway writes these issues so well. The build up to Green Goblin dropping Gwen off the bridge throughout the issue is expertly scripted. Even knowing how it ends, I was tense reading it. Issue #122 is just as great, with Peter out for revenge and nearly losing control when he finally gets his hands on the Goblin, you can feel his pain at losing the girl he loves to his greatest foe. Green Goblin accidentally impaling himself on his own glider is such a huge moment too, and it is a perfect conclusion of Norman’s story for now. Conway didn’t simply change everything, he did a great job of it. And I can’t forget those last few panels of MJ closing the door to Peter’s apartment and staying with him as he grieves, despite his rudeness to her. The lack of any dialogue as she does so is one of the greatest strengths of comics being a visual medium. Gil Kane’s art is so poignant and the silence is haunting.
I’d be remiss not to comment on the art in the issues I read. Kane replaces Romita with issue #89, and I can’t say I was a fan of his work until issues #121–122. Those two issues were beautifully drawn, he really came into his own by then, but the art in Green Goblin Reborn and The Six Arms Saga was a big step down from Romita.
That’s all for now! I’m looking forward to seeing the impact of Gwen’s death on Peter and friends, but next time I’ll be focused on some 1970s supernatural character introductions!
Issues read:
Spectacular Spider-Man Magazine #2
Amazing Spider-Man #86, #88–91, #96–98, #100–102, #121–122
Favorite issue: #122 no contest
