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Amazing Spider-Man Epic Collection: The Secret Of The Petrified Tablet (Amazing Spider-Man (1963-1998)) (English Edition) Kindle e comiXology
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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!
Detalhes do produto
- ASIN : B082QMYBN9
- Editora : Marvel (12 fevereiro 2020)
- Idioma : Inglês
- Tamanho do arquivo : 1671261 KB
- Leitura de texto : Não habilitado
- Configuração de fonte : Não habilitado
- X-Ray : Não habilitado
- Dicas de vocabulário : Não habilitado
- Número de páginas : 463 páginas
- Ranking dos mais vendidos: Nº 233,716 em Loja Kindle (Conheça o Top 100 na categoria Loja Kindle)
- Nº 1,389 em Graphic Novels de Tie-In de Mídia Importadas
- Nº 3,707 em Super-Heróis em HQs, Mangás e Graphic Novels Importados
- Nº 5,949 em HQs e mangás em inglês
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One sign of the changing times are the length of the story arcs; much of this volume is taken up with the struggle over the titular tablet, seeing the webhead match wits and fists with the competing crimebosses Kingpin and Silvermane, a conflict that eventually pulls in the Lizard as well. It's a story that keeps rolling on, never overstaying its welcome or becoming dull, as the main storyline is bolstered with the personal sub-plots that elevated the comic above others of the time.
As well as that main storyline, another highlight is the annual story revealing the truth behind the disappearance of Peter Parker's parents, the first appearance of the Prowler and another Kingpin story that pits the corpulent criminal against the mysterious Schemer.
Extras are plentiful, too, with 31 pages of original art, pleasingly including some unused layouts by Romita, and the cover to the 8th Masterwork volume. This really is one of Marvel's flagship Silver Age titles at its very best, and couldn't come more highly recommended.
I first discovered Marvel and Spider-Man during the Lee/Romita era, and vastly preferred that version of Spider-Man to the earlier and original Lee/Ditko period, which was already ancient, dated history, although I read them all. I love Ditko on the supernatural and Doctor Strange stuff from that period, but his Spider-Man, while I appreciate the artistry and Stan’s writing, never really did it for me. The Lee/Ditko Peter Parker was a whiny dork, difficult to empathise with; the Lee/Romita version was far easier to like, and identifiable. He wasn’t perfect, but he didn’t bring his problems on himself. And he seemed to be having a pretty good time with those gorgeous girls.
Both in terms of politics and personality, Lee and Ditko were polar opposites, and removed from the simplicity of their ventures into supernatural morality tales on barren worlds, swirling unreal dimensions, or Balkan villages, it’s a miracle they lasted as long as they did on a contemporary venture like Spider-Man, their admirable efforts collected in volumes one and two of the Spider-Man Epic Collections. Whichever ‘60s Spider-Man you prefer, when Johnny Romita came on board as artist, Spider-Man had no choice but to change.
If I was a stronger man, I would make do with volume three of the Epic collection for Spidey (my favourite period is issues 39 to 56, and volume three goes from 39 to 52, covering the mid-’60s when Marvel could do no wrong), but here I am gradually buying everything from 1 to 123. Those first 38 issues of Amazing Spider-Man introduced some of the best Marvel villains to that or any other title, and are worth revisiting for that reason alone, but these issues from the late ‘60s see some of the lamest bad guys and storylines the series had during the Silver Age. The book opens and closes with the Kingpin, who was always a bore, with his one single expression (raging), and his two poses (standing or stomping around), but Silvermane, Man Mountain Marko (!!), the Kangaroo (!?!), the Prowler, and the Schemer are the absolute pits, and the Fountain of Youth gimmick seems weirdly out of place in Spider-Man, which despite the obvious fantastic elements (yes, I realise there’s a guy who changes into a rampaging lizard, etc.!), always seemed firmly grounded within its own limits of reality. The art, usually featuring a combination of Johnny Romita, John Buscema, or Jim Mooney, is fairly simple and unimaginative, and quite frankly has a rushed, get-it-done look to it, with each issue producing clarity but not much else.
Perhaps it’s a tribute to the professionalism of Romita, Buscema, and Mooney, that they can do it so fast and so competently, but this was the era of Kirby, Colan, Adams, Kane, Smith, Trimpe, and Steranko, all of whom were putting a bit of imagination into their work, and the two Johns and a Jim, despite the admirable ease with which they sweep a story along, are pretty much just hacking it out (a couple of issues take place in chilly winter snow, but the rest is basic storytelling layouts and no more; this isn’t Colan or Steranko). To add insult to injury, the larger panels of the late ’60s Marvel comics didn’t suit Romita or Spider-Man, except in fight scenes, and I particularly disliked Jim Mooney’s inks. Even the appearance of old faithfuls Electro and the Lizard can’t jolt the series to life during 1969 and early 1970, and the covers are as dull as dishwater.
Fortunately, the story reads much better as one ongoing quick read graphic novel than it did all those years ago in monthly slivers, when the stone tablet storyline seemed to go on forever (from 68 to 77 in fact)… and Stan Lee’s storytelling is as dynamic and lively as ever. His dialogue, particularly for Spidey himself, flows so easily that all later writers are mere impersonators, copyists trying to duplicate his verve and dramatic energy. And the supporting cast, notably Jameson and Joe Robertson and his son, and lovely strong, faithful Gwen and her wily father, Captain Stacy, keep sideline events interesting (the vivacious Mary Jane is lamentably absent from most of the book, weirdly dating the oddball and rather desperate Harry Osborne). Most impressive of all is how Stan tackles the social issues of the day; for once, the campus radicals aren’t dupes being manipulated by outside forces, the usual plot, and have a genuine and specific credible grievance (we can forgive him anxiously name-dropping Easy Rider to look like he’s down with the kids).
Stan, as ever the voice of reason, covers all sides of the issues, seeing all positions while showing where he stands. It’s so refreshing to read sensible dialogue about complicated issues when so much of politics in comics since has been shouty, virtue-signalling grandstanding, pushy, partisan naiveté, or eye-rolling armchair anarchy. See pages 67, 81, 105 and 106, 127, 173 and 174, for example. These are comics with a point of view without the dogma or hysteria (|the Guy Fawkes mask brigade never seem to give much thought as to what comes next, *after* they’ve blown up Parliament). Yes, in real life Captain Stacys and Joe Robertsons are very thin on the ground, and it’s all very convenient that for every careless cop there’s a calm one, and for every campus loudmouth there’s a cautious questioning voice, but Stan Lee creates a debate within the action without ever getting obnoxious or alienating any readers, and the sentiments he presents are admirable. Yes, they’re corny and idealistic, but so what? If you can’t be idealistic in a super-hero comic, where can you? What’s wrong with setting an example, as traditional heroes always once did, instead of collapsing into morbid self-pity, mindless destruction, or teeth-gnashing revenge? There’s a beautiful line about the Vietnam war, when Peter refers to “a war that nobody wants… against an enemy you don’t even hate”. No ranting or preaching, just gentle, substantial food for thought.
Also in this book, opening it in fact, is the fifth Spider-Man Annual. I found this story of Peter Parker’s parents to be fairly uninteresting and unnecessary, and riddled with spy movie cliches (and what a horrible cover on the annual… in fact, what horrible covers on these comics generally; from the dismal choices available, my selection for the cover here would probably have been 74 rather than the unfortunately posed nutless wonder of 68). All this makes this volume of the Epic Collection something of a cheaply purchased filler on my bookshelf, so I wouldn’t recommend it as a starter to any age reader… but to say there’s worse to come is the understatement of the century…
These issues will never be regarded as classics, but they demonstrate, as so many of the Marvel comics of this period do, how easily and effortlessly Marvel turned out solid good professional reading for the mass market on a continuous monthly basis under Stan Lee’s watch. When the Marvel comics of the ’60s were great they were mind-blowing, and when they were just merely good, as here, they were okay. If it’s only just okay, it’s at least trustworthy and substantial, unlike so much later meaningless unpleasant rubbish to come from the comics medium, and the genuinely banal Spider-Man comics to come later, in droves. With the exception of the three part drugs story and the death of Gwen, Spider-Man from 1968 onwards has always rested on its laurels, coasting since the first 56 issues, and these very ordinary offerings now look pretty good next to what came later, sales figures be damned.