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The Amazing Spider-Man (1963-1998) #296-329
The Amazing Spider-Man Omnibus by David Michelinie & Todd McFarlane
Whether clad in blue and red or black, or possessing spider-powers or cosmic ones, Spider-Man stands ready to face any threat! And the threats have never been greater! From his own foes - Venom, Mysterio, the Scorpion and more - to newcomers to his friendly neighborhood like Sabretooth, the Taskmaster, Magneto and the Sentinels, Spidey sure has his hands full! Good thing he's got Mary Jane, Captain America, the Black Cat and the Hulk around to lend a hand! Featuring the pulse-pounding prose of longtime IRON MAN scribe David Michelinie and the groundbreaking artistry of the legendary Todd McFarlane! Collecting AMAZING SPIDER-MAN (1963) #296-329 and material from SPECTACULAR SPIDER-MAN ANNUAL #10.
817 pages, Hardcover
First published August 10, 2011
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Displaying 1 - 22 of 22 reviews
February 8, 2016
This was tough. I've been a long time Spider-Man fan and was reading comics at least a decade before this material even came out. When it did come out back in the 90's I too was taken by McFarlane's art even though I'm a die-hard classic Romita guy. It was an exciting change and really redefined Spidey's look for a long time.
Looking at it now, there's still quite a bit of excitement there. His Spider-Man just exudes power and agility. While some people draw him contorted, often times it looks awkward, but not with McFarlane. Every frame with Spider-Man is just so energetic and I really did enjoy looking at those particular panels again. However, the "cartooniness" of the rest of his art is fairly evident. McFarlane's quirky anatomy and flattened perspective faces can be a bit jarring at times. And as far as storytelling ability, I don't recall ever really being lost visually, but his panel per page count averaged around 4. Keep in mind this was the 90's, where at least 1-2 splash pages per issue were mandatory. Despite all that, he has a distinctive style and as a whole, fits together. If you are looking for realisim this isn't it (except for a high level of detail), but if you like the fun, cartoony style this should please your eye.
The stories though were fairly forgettable with a couple exceptions. What I did like was a multi-issue idea that the Daily Bugle sells a book of Parker's photos, although he doesn't get the royalties. It's a nice way to add something to Peter's timeline yet still make it fail for him with his luck and it is still referenced in today's stories. These issues also took place shortly after Peter and MJ are married, a somewhat controversial topic. What was nice though was the fact that Michelinie showed a happy, functional marriage which doesn't really happen that often in comics. Despite Spidey's crazy life, MJ was supportive and she actually turns out stronger, being the main breadwinner and dealing with her own nemesis.
The rest of the issues though were fairly one-off initially featuring C/D-list villains. Slowly you get to some of the heavier hitters, but there's only 1 maybe two, true multi-part story arc. It really starts to feel as if they were coming up with excuses to bring in either a villain or hero just to see McFarlane draw the character. Some plots dealt with some fairly heavy topics but was strangely juxtaposed by the cartoony art.
I'd probably give this closer to a 2.5 stars, primarily for McFarlane's Spider-Man and impact on the look, but the writing could have been more interesting.
Looking at it now, there's still quite a bit of excitement there. His Spider-Man just exudes power and agility. While some people draw him contorted, often times it looks awkward, but not with McFarlane. Every frame with Spider-Man is just so energetic and I really did enjoy looking at those particular panels again. However, the "cartooniness" of the rest of his art is fairly evident. McFarlane's quirky anatomy and flattened perspective faces can be a bit jarring at times. And as far as storytelling ability, I don't recall ever really being lost visually, but his panel per page count averaged around 4. Keep in mind this was the 90's, where at least 1-2 splash pages per issue were mandatory. Despite all that, he has a distinctive style and as a whole, fits together. If you are looking for realisim this isn't it (except for a high level of detail), but if you like the fun, cartoony style this should please your eye.
The stories though were fairly forgettable with a couple exceptions. What I did like was a multi-issue idea that the Daily Bugle sells a book of Parker's photos, although he doesn't get the royalties. It's a nice way to add something to Peter's timeline yet still make it fail for him with his luck and it is still referenced in today's stories. These issues also took place shortly after Peter and MJ are married, a somewhat controversial topic. What was nice though was the fact that Michelinie showed a happy, functional marriage which doesn't really happen that often in comics. Despite Spidey's crazy life, MJ was supportive and she actually turns out stronger, being the main breadwinner and dealing with her own nemesis.
The rest of the issues though were fairly one-off initially featuring C/D-list villains. Slowly you get to some of the heavier hitters, but there's only 1 maybe two, true multi-part story arc. It really starts to feel as if they were coming up with excuses to bring in either a villain or hero just to see McFarlane draw the character. Some plots dealt with some fairly heavy topics but was strangely juxtaposed by the cartoony art.
I'd probably give this closer to a 2.5 stars, primarily for McFarlane's Spider-Man and impact on the look, but the writing could have been more interesting.
October 7, 2022
This is a interesting Spider-Man omnibus because besides Venom, this is the most slice of life Peter Parker probably has ever had, or least in awhile.
So the first few issues are a build up to the showcase of VENOM! Yes, the monster himself makes his grand arrival in this Omnibus and he's actually kind of terrifying. Scaring the living shit out of MJ, knowing all about Peter, Spider-man's spidersense doesn't work on Venom either making him one of the hardest villains for Peter to fight. Overall, this is venom at some of his best, dark, scary, and a tough enemy for Pete.
But once we get past that it's mostly the married life. MJ and Peter trying their best to make it in life. Working, struggling to make ends meet, having to live with Aunt May for awhile when getting kicked out, and yeah...this is a lot of fun. Just everyday life shit most grownups can relate to worked well here for me.
Now it's not to say there isn't superhero adventures. Spidy still has to fight crime, stop a lunatic who kidnaps MJ, teams up with Sandman and Silver Stable. There's some Saturday morning style cartoon adventures in this as well.
The best part is the art. Mostly done by McFarlane but we also have Erik do some work as well here. It's really fun fight scenes, excellent poses, that really amplify some of the shots of Spider-Man swinging or fighting. Iconic is the word that comes to mind.
So yeah it's not a mind-blowing run but it stays pretty fun throughout the entire time. I think the art really helps push this one up for me and make it fun to view as I'm reading. A 3.5 out of of 5 for this Omnibus.
So the first few issues are a build up to the showcase of VENOM! Yes, the monster himself makes his grand arrival in this Omnibus and he's actually kind of terrifying. Scaring the living shit out of MJ, knowing all about Peter, Spider-man's spidersense doesn't work on Venom either making him one of the hardest villains for Peter to fight. Overall, this is venom at some of his best, dark, scary, and a tough enemy for Pete.
But once we get past that it's mostly the married life. MJ and Peter trying their best to make it in life. Working, struggling to make ends meet, having to live with Aunt May for awhile when getting kicked out, and yeah...this is a lot of fun. Just everyday life shit most grownups can relate to worked well here for me.
Now it's not to say there isn't superhero adventures. Spidy still has to fight crime, stop a lunatic who kidnaps MJ, teams up with Sandman and Silver Stable. There's some Saturday morning style cartoon adventures in this as well.
The best part is the art. Mostly done by McFarlane but we also have Erik do some work as well here. It's really fun fight scenes, excellent poses, that really amplify some of the shots of Spider-Man swinging or fighting. Iconic is the word that comes to mind.
So yeah it's not a mind-blowing run but it stays pretty fun throughout the entire time. I think the art really helps push this one up for me and make it fun to view as I'm reading. A 3.5 out of of 5 for this Omnibus.
October 21, 2012
I left comic book heroes behind sometime around '88 but with new and awesome movies coming along I thought I should give them another spin and choose to go with this solely because of McFarlane.
Well, I must say that the collected stories didn't arouse me at all. They're all rather unidimensional and the art is overall appaling especially concerning faces with horrible eyes and lack of perspective in almost every frame. I really have no idea why McFarlane is so highly ranked as an artist. Maybe he as developed further down the line but by the eighties his art was horrible.
As for Michelinie stories I must say that working within the strict confines of Marvel may be challenging but that doesn't excuse the lack of drama, the cliché upon cliché, the sameness of all the story arcs. The character of MJ could be so much more but she just comes along as a frivolous woman on the bitter end of a model career and although she's always supportive of Parker I think that's perhaps the problem with her. There never is a tension between them.
As for Aunt May I must say that it gets old real quickly (no pun intended) the constant fear of shocking little old miss May. I mean, after all these years? C'mon are we really to believe that Parker could never muster the courage to speak frankly with here? Is taht really a proof of love or just plain lying?
Well, I must say that the collected stories didn't arouse me at all. They're all rather unidimensional and the art is overall appaling especially concerning faces with horrible eyes and lack of perspective in almost every frame. I really have no idea why McFarlane is so highly ranked as an artist. Maybe he as developed further down the line but by the eighties his art was horrible.
As for Michelinie stories I must say that working within the strict confines of Marvel may be challenging but that doesn't excuse the lack of drama, the cliché upon cliché, the sameness of all the story arcs. The character of MJ could be so much more but she just comes along as a frivolous woman on the bitter end of a model career and although she's always supportive of Parker I think that's perhaps the problem with her. There never is a tension between them.
As for Aunt May I must say that it gets old real quickly (no pun intended) the constant fear of shocking little old miss May. I mean, after all these years? C'mon are we really to believe that Parker could never muster the courage to speak frankly with here? Is taht really a proof of love or just plain lying?
May 26, 2017
Well, this is another one of those runs I've been meaning to read since it was first printed in the 80's. Was a student at the time and didn't have the dollars way back when but I do recall some initial impressions that have stuck with me all these years later.
It's hard to see now. Impossible really. But McFarlane's art was quite shockingly different than anything Marvel had ever printed before. People went nuts for it. Especially once he started in on this Spider-man series. At the time I thought he drew Spider-man himself fairly well and his web-lines were off especially revolutionary note but the other characters? Mary Jane looks like a freak. Eyes too large. Weirdly proportioned. As are the other folks. The intervening years have not changed my initial opinion.
And I'm still mystified over the popularity of this collection. Michelinie's stories are not even all that great. But I do admit by McFarlane's final issue, an Acts of Vengeance cross-over chapter that pits Spidey against the Hulk, his artwork has greatly improved over the beginning of the book.
And now that this book is over I'm pleased to have three back to back Epic Collections to read that picks up right where this omnibus leaves off! That do include Spectacular and Web of in addition to Amazing.
It's hard to see now. Impossible really. But McFarlane's art was quite shockingly different than anything Marvel had ever printed before. People went nuts for it. Especially once he started in on this Spider-man series. At the time I thought he drew Spider-man himself fairly well and his web-lines were off especially revolutionary note but the other characters? Mary Jane looks like a freak. Eyes too large. Weirdly proportioned. As are the other folks. The intervening years have not changed my initial opinion.
And I'm still mystified over the popularity of this collection. Michelinie's stories are not even all that great. But I do admit by McFarlane's final issue, an Acts of Vengeance cross-over chapter that pits Spidey against the Hulk, his artwork has greatly improved over the beginning of the book.
And now that this book is over I'm pleased to have three back to back Epic Collections to read that picks up right where this omnibus leaves off! That do include Spectacular and Web of in addition to Amazing.
August 30, 2014
Weak, one-dimensional villains in recycled and somewhat cliched stories. Art by McFarlane is solid in my eyes though nothing to write home about. His style has been improved upon tenfold since the 80s by other artists. The dynamic poses and ropy web was above and beyond anything from that era and set the standard for drawing Spidey but again, with fantastic modern era Spidey artists, it feels a tad run-of-the-mill. His art does improve significantly throughout the book and it was cool to see his progress. But I personally prefer the old school artists like Ditko and Romita who had a style that was unique and timeless.
The main highlight of the book has to be the character development of Peter Parker and the trials he faces as Spider-Man and as a married man. That balancing act of coping with both challenges as a superhero and as a struggling post-grad adult is the focal point of the story and it's what drew me in. I'm currently in the same boat and it's intriguing to find a superhero struggling with the same issues.
The main highlight of the book has to be the character development of Peter Parker and the trials he faces as Spider-Man and as a married man. That balancing act of coping with both challenges as a superhero and as a struggling post-grad adult is the focal point of the story and it's what drew me in. I'm currently in the same boat and it's intriguing to find a superhero struggling with the same issues.
July 15, 2016
Like him or hate him (I'm in the latter camp), Todd Mcfarlane revitalized Spiderman at a time when he was at somewhat of a low-ebb, and set the style-template that was used for Spidey for years, even after he had long since left the title.
Sp, beyond the art, this omnibus is also notable for the triumphant return of many of Spideys iconic foes (the Lizard, Green Goblin/Hobgoblin), as well as the true introduction of Venom (though the ALien Costume had been around for some time by this point, the change to "Venom" occurs under Mcfarlanes watch.
Another notable part of this collection is the focus on the marriage of SPidey/MJ, with a semi-realistic focus on the problems in their marriage, some from internal pressures, other from exterbal forces.
So, all said, (keeping in mind that WAS the '80's!!) a solid, if not overwhelming, entry to the Spidey universe. 4 solid stars.
Sp, beyond the art, this omnibus is also notable for the triumphant return of many of Spideys iconic foes (the Lizard, Green Goblin/Hobgoblin), as well as the true introduction of Venom (though the ALien Costume had been around for some time by this point, the change to "Venom" occurs under Mcfarlanes watch.
Another notable part of this collection is the focus on the marriage of SPidey/MJ, with a semi-realistic focus on the problems in their marriage, some from internal pressures, other from exterbal forces.
So, all said, (keeping in mind that WAS the '80's!!) a solid, if not overwhelming, entry to the Spidey universe. 4 solid stars.
November 22, 2021
Es una gran etapa, Michelinie presenta a un Peter Parker recién casado que tiene que batallar por estar a la altura del compromiso de ser esposo mientras tiene que enfrentar a varios de sus villanos más clásicos y un nuevo enemigo que conoce su identidad aparece para acecharlo a él y a Mary Jane, además de que cuenta con el arte de McFarlane que redefinió el look del personaje y lo colocó en el top de ventas en su momento.
February 5, 2023
7.5/10
I'm sitting here feeling incredibly conflicted as I write this review. There are of course the net positives that people have talked about time and time again ie) the first appearance of venom and of course Todd McFarlane's invigorating and exciting art. But thinking about the actual conflict with villains Spider-Man has had in this book, I can count on my hand the amount of times the action set pieces and villain motivations were genuinely exciting and unique.
Despite all that I really really enjoyed this book and not because of the classic Spider-Man action you might expect, instead it was because of Peter Parker and Mary Jane. I completely adored their relationship. There was a surprising authenticity found when watching Peter Parker struggle to pay rent, make money and simultaneously balance a healthy marriage. It reminded me of Tobey Maguire's Spider-Man in that way. Spider-Man is a superhero but Peter Parker is a nobody. Within all this however is a truly endearing love story about a couple who unconditionally love each other and want to persevere despite their differences and conflicts. The relationship was beautiful to me. They had their ups and downs and It was refreshing to read about people struggling to find the time, the patience, and the right way to communicate in order to maintain a healthy relationship. Those are the stories I found myself flipping the page to read more of. I wanted to see what was going on in Peter's life and I wanted to know what would happen next with MJ as well (she has a surprisingly fleshed out arc).
Will I read this book again? Without a doubt. The art and interpersonal character relationships are more than just a gimmick, and I think revisiting this book in the future I'll find that same enjoyment as I did during my first read.
Is this book a groundbreaking Spider-Man story? Not really. The villains are fun at times but other times it also felt a little trite.
Do I have a deeper appreciation for Spider-Man? Absolutely. I love this character and this book didn't do anything to take that away from me. If anything it further contextualized the importance of Peter Parker's life and struggles as a key part of the broader Spider-Man narrative
So all in all, I did enjoy this book. I still have to dock some points because it's not groundbreaking work. I can see people not enjoying this and I also see the flaws in it.
I'm sitting here feeling incredibly conflicted as I write this review. There are of course the net positives that people have talked about time and time again ie) the first appearance of venom and of course Todd McFarlane's invigorating and exciting art. But thinking about the actual conflict with villains Spider-Man has had in this book, I can count on my hand the amount of times the action set pieces and villain motivations were genuinely exciting and unique.
Despite all that I really really enjoyed this book and not because of the classic Spider-Man action you might expect, instead it was because of Peter Parker and Mary Jane. I completely adored their relationship. There was a surprising authenticity found when watching Peter Parker struggle to pay rent, make money and simultaneously balance a healthy marriage. It reminded me of Tobey Maguire's Spider-Man in that way. Spider-Man is a superhero but Peter Parker is a nobody. Within all this however is a truly endearing love story about a couple who unconditionally love each other and want to persevere despite their differences and conflicts. The relationship was beautiful to me. They had their ups and downs and It was refreshing to read about people struggling to find the time, the patience, and the right way to communicate in order to maintain a healthy relationship. Those are the stories I found myself flipping the page to read more of. I wanted to see what was going on in Peter's life and I wanted to know what would happen next with MJ as well (she has a surprisingly fleshed out arc).
Will I read this book again? Without a doubt. The art and interpersonal character relationships are more than just a gimmick, and I think revisiting this book in the future I'll find that same enjoyment as I did during my first read.
Is this book a groundbreaking Spider-Man story? Not really. The villains are fun at times but other times it also felt a little trite.
Do I have a deeper appreciation for Spider-Man? Absolutely. I love this character and this book didn't do anything to take that away from me. If anything it further contextualized the importance of Peter Parker's life and struggles as a key part of the broader Spider-Man narrative
So all in all, I did enjoy this book. I still have to dock some points because it's not groundbreaking work. I can see people not enjoying this and I also see the flaws in it.
June 27, 2022
No book can get by on the contribution of a superstar artist alone, but this legendary Michelinie/McFarlane run on Spiderman really tries.
The artwork, the unabashed star of the show is a beautifully twisted nightmarish beast that almost brings Spiderman’s world competing toe to toe with the realms of Batman’s insanity. Characters aren’t just large and imposing, they’re twisted, terrifying and very detailed and nearly everything leaps from or around the page in a way I haven’t seen since reading Miller’s Daredevil. People are prone to saying “good art” in comics but I often feel they don’t appreciate just how important this contribution is to setting the tone and atmosphere of a story.
Problem is Michelinie’s stories just don’t keep up. It’s a solid run on the series, for sure, but they aren’t what’s memorable about it and too often villains pop along for an issue and then disappear again as if it were the 70s, only Michelinie’s long-term plotting isn’t really as dramatically interesting as he thinks it is. The thing is, Peter and MJ are rich and living the life and the main personal drama is of the ilk of, where are they going to live when MJ’s modelling contracts run dry. I never really feel anxious for them since they’re now a power-couple and Michelinie rarely layers on the tension, he just sometimes throws in some personal drama as colour.
The volume closes out (almost) with the 6 issues Assassin Nation plot arc, though, which is something to get one’s teeth into, even if it’s not the strongest. I liked Spiderman choosing money over morals … it genuinely felt at that moment as if his personal life – his love for MJ - was pushing him into behaving against against his code, and hopefully in the next volume this is a theme which continues. Elsewhere Venom is a great addition to the Spiderverse, although it’s really the artistry of the stories which makes him intriguing as a character with the second showdown being even more epic than the first. The symbiote is a fun conceit and a good example of the 70s/80s slowly turning into the slightly edgier 90s.
Five Stars because this does feel like an essential piece of the Spiderman puzzle and five stars because the writing holds up well-enough to make the artwork shine. It’ll be interesting to see how the McFarlane penned stories to come bear comparison.
The artwork, the unabashed star of the show is a beautifully twisted nightmarish beast that almost brings Spiderman’s world competing toe to toe with the realms of Batman’s insanity. Characters aren’t just large and imposing, they’re twisted, terrifying and very detailed and nearly everything leaps from or around the page in a way I haven’t seen since reading Miller’s Daredevil. People are prone to saying “good art” in comics but I often feel they don’t appreciate just how important this contribution is to setting the tone and atmosphere of a story.
Problem is Michelinie’s stories just don’t keep up. It’s a solid run on the series, for sure, but they aren’t what’s memorable about it and too often villains pop along for an issue and then disappear again as if it were the 70s, only Michelinie’s long-term plotting isn’t really as dramatically interesting as he thinks it is. The thing is, Peter and MJ are rich and living the life and the main personal drama is of the ilk of, where are they going to live when MJ’s modelling contracts run dry. I never really feel anxious for them since they’re now a power-couple and Michelinie rarely layers on the tension, he just sometimes throws in some personal drama as colour.
The volume closes out (almost) with the 6 issues Assassin Nation plot arc, though, which is something to get one’s teeth into, even if it’s not the strongest. I liked Spiderman choosing money over morals … it genuinely felt at that moment as if his personal life – his love for MJ - was pushing him into behaving against against his code, and hopefully in the next volume this is a theme which continues. Elsewhere Venom is a great addition to the Spiderverse, although it’s really the artistry of the stories which makes him intriguing as a character with the second showdown being even more epic than the first. The symbiote is a fun conceit and a good example of the 70s/80s slowly turning into the slightly edgier 90s.
Five Stars because this does feel like an essential piece of the Spiderman puzzle and five stars because the writing holds up well-enough to make the artwork shine. It’ll be interesting to see how the McFarlane penned stories to come bear comparison.
March 31, 2022
I own all but two of the issues collected here, but it has been decades since I read any of them.
They actually were better than I remembered them being, even though I still cannot say I was overly impressed by the majority of the stories, even if this collection contains such pivotal issues as the first appearance of Venom in ASM #300 (which I used to own but no longer do - getting this omnibus collection was cheaper than trying to get my hands on the original again...)
Back then Marvel editorial still cared about continuity and so dialogue and footnotes referred to events and storylines from the other Spider-titles of the time which, with the exceptions of Venom and the MJ/Ceasar plotline, invariably appeared to be more...consequential than what was occurring in this, ostensibly the main Spider-Man book and former flagship title of the company. Weird.
For most readers, the main draw of this collection is probably the artwork by Todd McFarlane, who - after a very memorable stint on Peter David's Incredible Hulk - proceeded to revamp the Amazing Spider-Man and, quickly becoming one of the superstar artists of the Nineties, later proceeded to change the whole US comics industry.
His art here is both detailed and cartoony, with figures in repose often looking awkward or weirdly proportioned and faces often being inconsistent. His action sequences, though, are where he shines (with swipes no longer quite as obvious as during the Hulk days...). And most prominently, the way McFarlane drew Spider-Man's webbing has consisently become the look that is still in use today (even though Art Adams did it first...)
It should be mentioned that this collection also contains issues drawn by other artists/teams, including Erik Larsen, who followed McFarlane as the regular artist on The Amazing Spider-Man.
They actually were better than I remembered them being, even though I still cannot say I was overly impressed by the majority of the stories, even if this collection contains such pivotal issues as the first appearance of Venom in ASM #300 (which I used to own but no longer do - getting this omnibus collection was cheaper than trying to get my hands on the original again...)
Back then Marvel editorial still cared about continuity and so dialogue and footnotes referred to events and storylines from the other Spider-titles of the time which, with the exceptions of Venom and the MJ/Ceasar plotline, invariably appeared to be more...consequential than what was occurring in this, ostensibly the main Spider-Man book and former flagship title of the company. Weird.
For most readers, the main draw of this collection is probably the artwork by Todd McFarlane, who - after a very memorable stint on Peter David's Incredible Hulk - proceeded to revamp the Amazing Spider-Man and, quickly becoming one of the superstar artists of the Nineties, later proceeded to change the whole US comics industry.
His art here is both detailed and cartoony, with figures in repose often looking awkward or weirdly proportioned and faces often being inconsistent. His action sequences, though, are where he shines (with swipes no longer quite as obvious as during the Hulk days...). And most prominently, the way McFarlane drew Spider-Man's webbing has consisently become the look that is still in use today (even though Art Adams did it first...)
It should be mentioned that this collection also contains issues drawn by other artists/teams, including Erik Larsen, who followed McFarlane as the regular artist on The Amazing Spider-Man.
March 20, 2023
Un ómnibus disfrutable en cada lectura que se podía, desde la aparición de Venom y su primer enfrentamiento con spiderman, la batalla de los goblins, la relación de Peter y M J Watson de casados, si bien no es perfecto hay historias flojas, los demás contenidos me encantaron a demás la aparición de mis personajes favoritos como Magneto y el capitán américa. Todo un deleite de las historias de spiderman.
March 27, 2022
Wow, this was absolutely phenomenal. The stories David Michelinie told from the introduction of Venom to Inferno to Assassination Plot to Acts Of Vengeance and everything in-between. All that with the brilliant art of Todd McFarlane. Just blended to well together. I also loved the way he wrote Petter and Marry's marriage, they're perfect for each
October 23, 2023
I was there. I bought all but one or two of the later issues in this book day of release from a comics specialty shop (Direct Market retailer for you kids out there), from when #296 hit the stands in September of 1987 to when I ditched the title around November of 1989, probably with issue 328. Cover dates were knocked down from five months ahead to two during this time with Early and Late month cover dates following the bi-weekly publication schedule during the summer; if you purchase these from a newsstand, #296 would have been out in October of 1987. I had two paper routes and new comics came out on Thursday night. Journey with me into this bizarre world of the past...a world where computers were for nerds, telephones were connected to wires in your house, the future was bright, and nuclear war seemed imminent.
Spider-Man was and remains my all-time favorite superhero. He was poor, and so was I. He had bad luck, which was the story of my life. He always had a hard time with the ladies, just like me...except that he had recently married Mary Jane Watson and we were dealing with a recently domesticated Spider-Man. Oh. All of a sudden Spider-Man wasn't very relatable to 14 year old me. Enter Todd McFarlane. His artwork was a breath of fresh air. No one had ever seen anything quite like it, and all of a sudden everyone jumped on the bandwagon.
McFarlane was the first artist to draw the webs that way, and everyone since has drawn them that way. His style is cartoony and I dislike the way that he draws faces, but at the time I really dug his stuff. Little did I know that this was the beginning of the end for me. He helped usher in a new breed of artist, the “Image” guys. Erik Larsen, Rob Liefeld...these were the guys who got me to quit comics. Much like you had a Nirvana and a Soundgarden and a million weaker bands, McFarlane paved the way for style over substance and became the symbol of everything wrong with comics, nearly destroying the entire industry in the 1990s.
Don't think that I didn't enjoy rereading these comics. Quite the opposite. David Michelinie is a solid writer who knew how to build on plotlines without being long-winded. He knew the beauty of the set-up while taking care of the business at hand. He would lay down the foundation of the next storyline in the middle of the current one without missing a beat. I especially enjoyed #311 (Mysterio), #312 (Green Goblin vs. the Hobgoblin), and #313 (the Lizard).
While I enjoyed Venom's first appearance (#299-300), his return (#316-317) left me cold at the time and soured me on the character. I was out of comics altogether when he rose to fame a few years later. I enjoyed those issues as an adult, however.
Comics became progressively darker in the aftermath of Watchmen and The Dark Knight Returns. I disliked it at the time, and I honestly still do. The tone is fine for those titles, but I despised the impact that they had on every title under the sun. Even my light-hearted Spider-Man became darker as this run wore on. That, combined with endless crossovers (such as Acts Of Vengeance, the final issues that I bought before quitting comics) and lackluster artwork drove me away from comics. Music, cars, and girls seemed way more interesting to my then-now-16 year old self. I would be in my 30s before I returned to this hobby, but that is a story for another time...
Spider-Man was and remains my all-time favorite superhero. He was poor, and so was I. He had bad luck, which was the story of my life. He always had a hard time with the ladies, just like me...except that he had recently married Mary Jane Watson and we were dealing with a recently domesticated Spider-Man. Oh. All of a sudden Spider-Man wasn't very relatable to 14 year old me. Enter Todd McFarlane. His artwork was a breath of fresh air. No one had ever seen anything quite like it, and all of a sudden everyone jumped on the bandwagon.
McFarlane was the first artist to draw the webs that way, and everyone since has drawn them that way. His style is cartoony and I dislike the way that he draws faces, but at the time I really dug his stuff. Little did I know that this was the beginning of the end for me. He helped usher in a new breed of artist, the “Image” guys. Erik Larsen, Rob Liefeld...these were the guys who got me to quit comics. Much like you had a Nirvana and a Soundgarden and a million weaker bands, McFarlane paved the way for style over substance and became the symbol of everything wrong with comics, nearly destroying the entire industry in the 1990s.
Don't think that I didn't enjoy rereading these comics. Quite the opposite. David Michelinie is a solid writer who knew how to build on plotlines without being long-winded. He knew the beauty of the set-up while taking care of the business at hand. He would lay down the foundation of the next storyline in the middle of the current one without missing a beat. I especially enjoyed #311 (Mysterio), #312 (Green Goblin vs. the Hobgoblin), and #313 (the Lizard).
While I enjoyed Venom's first appearance (#299-300), his return (#316-317) left me cold at the time and soured me on the character. I was out of comics altogether when he rose to fame a few years later. I enjoyed those issues as an adult, however.
Comics became progressively darker in the aftermath of Watchmen and The Dark Knight Returns. I disliked it at the time, and I honestly still do. The tone is fine for those titles, but I despised the impact that they had on every title under the sun. Even my light-hearted Spider-Man became darker as this run wore on. That, combined with endless crossovers (such as Acts Of Vengeance, the final issues that I bought before quitting comics) and lackluster artwork drove me away from comics. Music, cars, and girls seemed way more interesting to my then-now-16 year old self. I would be in my 30s before I returned to this hobby, but that is a story for another time...
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November 22, 2023Es un libro muy entretenido. Michelinie y McFarlane supieron ser un dúo creativo, aunque es cierto que las historias pueden no ser las mejores del personaje. Sin embargo , como dije, entretienen. Destacan el rediseño del traje de Spidey y los dibujos de McFarlane en general, el matrimonio de Peter y MJ, y la primera aparición de Venom.
March 13, 2022
The standard for Todd McFarlane’s run on the title series.
March 25, 2013
Todd McFarlane's debut on the Spider-Man franchise is by no means earth-shattering, even though it was a step up from his recent predecessors, but the stories by David Michelinie were of a fun done-in-one variety (there were multi-issue stories, but mostly they were single-issue stories).
I really got into Spider-Man when Erik Larsen was on pencil duties (he took over from McFarlane in 1990), and that is the Spider-Man I remember, the one I enjoyed reading most, but this collection by Michelinie & McFarlane is in the same spirit, and I'm sure that it was only a question of timing that made me get into Spider-Man during the Larsen run. This stuff is just as good.
High points include the "Mary Jane: Kidnapped" plot, & the introduction of Styx & Stone, as well as confrontations with Venom, and "The Assassin Nation Plot".
Low points include three issues that crossover with the infernal X-Men: Inferno event that Marvel had in the X-books at the time. I know Marvel wants a cohesive universe, so big events naturally spill over to (and affect) the other books, but Inferno was terrible to begin with, so there wasn't much to expect from the crossover issues.
As for "The Assassin Nation Plot": Okay, maybe nostalgia had something to do with my liking this storyline so much. But consider this: this story's got a lot going for it:
- An assassination plot which, if successful, could lead the US to war with Symkaria (Silver Sable's homeland, a fictitious country on the border of the just-as-fictitious Latveria).
- Guest appearances from Captain America, Silver Sable, Paladin, Solo.
- The involvement of bad-ass villains such as .
Definitely a product of its time (the BIG hair, the thought bubbles, that certain innocence about it...), "The Assassin Nation Plot" is still a good read, with a surprising amount of violence (courtesy of Solo) for a 1989 comic book (that isn't a Punisher book, that is!).
Also of note: in this story, Mary Jane Watson-Parker gives the X-Men's Psylocke serious competition: the number of ass-shots is staggering!!
Lastly, the omnibus concludes with the "Amazing Spider-Man" issues of the "Acts Of Vengeance" event, in which Spider-Man temporarily got cosmic powers. This set of powers was just RIDICULOUS, as it gave him the ability to do pretty much whatever he wanted: Flying, telescopic vision, even more super-strength, etc. Thankfully, this didn't last (as a matter of fact, during the Larsen run, which followed McFarlane's, Spidey would actually go powerless for a few issues - quite a reversal of fortune!).
As you can tell from my review, this collection is not all about 4-star stories, but the fact that all this pivotal Spidey material is collected under one cover (as well as a certain amount of nostalgia on my part, no doubt) certainly rounds it up to 4 stars.
Now if only Marvel would release a follow-up omnibus, collecting the entirety of Larsen's run... THAT I would get in a second!
I really got into Spider-Man when Erik Larsen was on pencil duties (he took over from McFarlane in 1990), and that is the Spider-Man I remember, the one I enjoyed reading most, but this collection by Michelinie & McFarlane is in the same spirit, and I'm sure that it was only a question of timing that made me get into Spider-Man during the Larsen run. This stuff is just as good.
High points include the "Mary Jane: Kidnapped" plot, & the introduction of Styx & Stone, as well as confrontations with Venom, and "The Assassin Nation Plot".
Low points include three issues that crossover with the infernal X-Men: Inferno event that Marvel had in the X-books at the time. I know Marvel wants a cohesive universe, so big events naturally spill over to (and affect) the other books, but Inferno was terrible to begin with, so there wasn't much to expect from the crossover issues.
As for "The Assassin Nation Plot": Okay, maybe nostalgia had something to do with my liking this storyline so much. But consider this: this story's got a lot going for it:
- An assassination plot which, if successful, could lead the US to war with Symkaria (Silver Sable's homeland, a fictitious country on the border of the just-as-fictitious Latveria).
- Guest appearances from Captain America, Silver Sable, Paladin, Solo.
- The involvement of bad-ass villains such as .
Definitely a product of its time (the BIG hair, the thought bubbles, that certain innocence about it...), "The Assassin Nation Plot" is still a good read, with a surprising amount of violence (courtesy of Solo) for a 1989 comic book (that isn't a Punisher book, that is!).
Also of note: in this story, Mary Jane Watson-Parker gives the X-Men's Psylocke serious competition: the number of ass-shots is staggering!!
Lastly, the omnibus concludes with the "Amazing Spider-Man" issues of the "Acts Of Vengeance" event, in which Spider-Man temporarily got cosmic powers. This set of powers was just RIDICULOUS, as it gave him the ability to do pretty much whatever he wanted: Flying, telescopic vision, even more super-strength, etc. Thankfully, this didn't last (as a matter of fact, during the Larsen run, which followed McFarlane's, Spidey would actually go powerless for a few issues - quite a reversal of fortune!).
As you can tell from my review, this collection is not all about 4-star stories, but the fact that all this pivotal Spidey material is collected under one cover (as well as a certain amount of nostalgia on my part, no doubt) certainly rounds it up to 4 stars.
Now if only Marvel would release a follow-up omnibus, collecting the entirety of Larsen's run... THAT I would get in a second!
August 6, 2012
I was hesitant about this Omnibus purely because of Todd McFarlane. I'm not a big fan of his art style and didn't like Torment too much (I realise I'm probably in the minority there). However, tempered with Michelinie's writing the combination is really quite entertaining and I have to say I started to appreciate his style a lot more, in particular, there are some brilliant panel layouts and his depiction of Spidey in motion is highly kinetic. I've been dipping in and out over the last few months. So what do we have within?
We start with an entertaining Doc Ock 2-parter in which Otto has lost his confidence and hilariously becomes catatonic whenever Spidey turns up. It's pretty funny and Pete having to lose to save the day is a nice touch. Then McFarlane turns up and shortly after, so too does Venom in the fantastic issue 300 (plus at least one other powerful story). There's a lot of great ongoing continuity throughout with Silver Sable in particular making multiple appearances. We dip into the Inferno storyline, involving the Marvel Universe being taken over by demons - something that could have used a single explanation page (as they do later) to fill in the gaps. Still, it's bizarre and fun and there's a good Lizard story there with fantastic artwork. This also comprises the 'Assassin Nation' arc in full, which is one of those stories I've heard of but never knew anything about (and is not currently available as a trade). It involves Sable, Capt America and a bunch of others as Spidey gets sucked into a potential war between the US and Symkaria. It's a bit all over the place and Pete himself is a little out of character at times, but overall it's an interesting tale.
We end with 4 parts (beginning, middle and end) of the 10-parter Acts of Vengeance storyline. There is a recap page but given this is the famous Cosmic Spider-Man story it would have been nice to include the entire run in order. Yeah, the book would be bigger but it would have ended up the same length as the first omnibus collection. We end with an short excerpt from Spectacular Annual 10 which doesn't even feature Spidey and then there's a afterword by Michelinie and a bunch of McFarlane covers. A slightly damp ending.
Still, there's a lot to like. Pete and MJ are newly married and there's a lot of interpersonal relationship issues at play. Flash, Liz and Harry intermittently show up, Pete and MJ move house 3 times and MJ's stalker makes his first appearance as the sinister Jonathan Caeser with a disturbing kidnap plot. MJ comes into her own at times though there is a fairly heavy reversion to her 'party girl' persona (which I always have difficulty accepting given her character in recent years). She sure is pert and buxom though - McFarlane portraying her in frequently skimpy outfits. And the clothes and hairstyles - hello the 80s! May is in her 'boarding house' days here and is generally getting on with things. Nathan is present too and his health and gambling issues rear their head though his end is not far off.
Overall a fun book, essential for the die-hards and great for new fans looking for some classic Spider-Man action from a great team. The Omnibus edition is wonderful as ever and it's pretty good value for money.
Collects ASM #296-329 + excerpt from SSM annual #10.
We start with an entertaining Doc Ock 2-parter in which Otto has lost his confidence and hilariously becomes catatonic whenever Spidey turns up. It's pretty funny and Pete having to lose to save the day is a nice touch. Then McFarlane turns up and shortly after, so too does Venom in the fantastic issue 300 (plus at least one other powerful story). There's a lot of great ongoing continuity throughout with Silver Sable in particular making multiple appearances. We dip into the Inferno storyline, involving the Marvel Universe being taken over by demons - something that could have used a single explanation page (as they do later) to fill in the gaps. Still, it's bizarre and fun and there's a good Lizard story there with fantastic artwork. This also comprises the 'Assassin Nation' arc in full, which is one of those stories I've heard of but never knew anything about (and is not currently available as a trade). It involves Sable, Capt America and a bunch of others as Spidey gets sucked into a potential war between the US and Symkaria. It's a bit all over the place and Pete himself is a little out of character at times, but overall it's an interesting tale.
We end with 4 parts (beginning, middle and end) of the 10-parter Acts of Vengeance storyline. There is a recap page but given this is the famous Cosmic Spider-Man story it would have been nice to include the entire run in order. Yeah, the book would be bigger but it would have ended up the same length as the first omnibus collection. We end with an short excerpt from Spectacular Annual 10 which doesn't even feature Spidey and then there's a afterword by Michelinie and a bunch of McFarlane covers. A slightly damp ending.
Still, there's a lot to like. Pete and MJ are newly married and there's a lot of interpersonal relationship issues at play. Flash, Liz and Harry intermittently show up, Pete and MJ move house 3 times and MJ's stalker makes his first appearance as the sinister Jonathan Caeser with a disturbing kidnap plot. MJ comes into her own at times though there is a fairly heavy reversion to her 'party girl' persona (which I always have difficulty accepting given her character in recent years). She sure is pert and buxom though - McFarlane portraying her in frequently skimpy outfits. And the clothes and hairstyles - hello the 80s! May is in her 'boarding house' days here and is generally getting on with things. Nathan is present too and his health and gambling issues rear their head though his end is not far off.
Overall a fun book, essential for the die-hards and great for new fans looking for some classic Spider-Man action from a great team. The Omnibus edition is wonderful as ever and it's pretty good value for money.
Collects ASM #296-329 + excerpt from SSM annual #10.
August 24, 2012
I haven’t read all that many Spider-Man issues from the 80’s, so I thought it’d be fun to check out this collection, as well as examine some of the earlier work from McFarlane. All in all, I found the stories to be generally entertaining, if rather campy- especially by modern standards. The storylines also jump about a bit, frequently referring to events in other Spider-Man comics running parallel to the “Amazing” series, which I found somewhat irritating. McFarlane’s faces aren’t necessarily my favorite, but he really does a fantastic job with Spidey himself. The character’s anatomy, the display of his athleticism, the positioning of fingers, arms, legs- all that is really fantastic, and all the more impressive when comparing it to some issues collected here which were drawn by other artists. McFarlane’s Spidey is vastly superior. In the end, while none of the content here can compare to other stories during that time period, such as Kraven’s Last Hunt, I certainly enjoyed the ride and am happy to have it on my shelf.
August 8, 2016
I got this Omnibus as a b'day gift and I didn't quite know what to expect from David Michelinie in terms of plot or scripting. Yes, Todd's artwork is still considered as ground breaking and revolutionairy in todays comic world which is what prompted me to hint that this Omnibus would make a great b'day gift! Well, first things first, the story lines presented in this Omnibus are simple yet tight and well paced! Most of the issues seem to flow in a clear direction and Todd gets to draw most of spider man's villains (notably absent is the Vulture & Kraven the hunter). The essence of these stories is Spidey and M.J's relationship and how they work together as a family unit. Simply mind blowing! I loved this Spidey outing a lot and would have loved it more if they included David and Erik Larsen's run as well.
August 29, 2015
surprisingly good, although by no means great.
The writing can get a little spotty and oddly the art lacks detail in many places. the best art is where a character leaps or swings and improbably sticks his leg out.
interesting because it didn't last long but apparently ASM was bimonthly and contained different content from the others.
The writing can get a little spotty and oddly the art lacks detail in many places. the best art is where a character leaps or swings and improbably sticks his leg out.
interesting because it didn't last long but apparently ASM was bimonthly and contained different content from the others.
March 3, 2013
Aside from this being a HUGE book, these stories seemed to resonate with me from my childhood.
I would always wake up early and rush downstairs to watch the new episodes of Spider-Man on Fox, and I still remember more of the plots in the episodes than I'd like to admit.
I would always wake up early and rush downstairs to watch the new episodes of Spider-Man on Fox, and I still remember more of the plots in the episodes than I'd like to admit.
December 3, 2012
This awesome collection of classic spiderman is simply beautiful. You actually bear witness as Mcfarlane hones his skills. This is simply a COOL book
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