We all remember why Peter Parker decided that with great power came great responsibility, right? It’s because way back during his first appearance in Amazing Fantasy #15, Spider-Man decided that “from now on I just look out for Number One,” and let a common criminal get away …

… resulting in … well … you know how that decision turned out. Bye bye, Uncle Ben!

And it was all Peter’s fault.

But if you’d first encountered Spider-Man via his second appearance, you would have found a subtly different origin path. (more…)

Over the past week or so, I’ve shared scans of pages I found in a Marvel Bullpen file cabinet during the mid-’70s—so far, you’ve seen the X-Men, Captain America, Thor, the Sub-Mariner, Doctor Strange, and the Hulk—and along the way I mentioned I had a feeling based on the content that these were written no later than the mid-’60s.

Today’s sheet will give you more of an idea of why I think this. Take a look at Spider-Man and his supporting cast and tell me what you see.

Or rather … what you don’t see.

Well? Did you not see what I thought you might not see? (more…)

Remember my mysterious October mission? We’re almost at the end game.

As I told you back then, Irene decided to sell her copy of Amazing Fantasy #15. You know … the comic that introduced Spider-Man. She got some wild idea in her head that she should sock money away for our retirement so we’re not forced to eat cat food a few decades from now. Crazy, huh?

Anyway, if you’d like a shot at a beautiful copy of the book, Heritage will be auctioning hers off starting on February 3, 2012. Check out more details about the auction here.

If Amazing Fantasy #15 is too rich for your blood … (more…)

Steve Thompson, aware of my strong feelings about the paintings of Sharon Moody, alerted me to the comics-inspired art of Vin Vicini. Funny thing is, in spite of what could be seen as superficial similarities, the new images I saw didn’t bother me at all. So let’s take a look at a couple of Vicini’s paintings, and then I’ll explain why.

First, a 12″ x 12″ oil painting titled “Chapter 7: ‘Catch the Hero.’”

This first example includes details from the covers of Amazing Spider-Man #19 (December 1964), Batman #219 (February 1970), and Avengers #35 (December 1966), all of which I’ve rotated so you can more easily compare them to how they were used above.

Here’s one more, “Batman and the Crate,” an 11″ x 14″ oil painting. (more…)

I’ve always prided myself on knowing in my bones that it’s Spider-Man (with a hyphen) and Superman (without), and I recently gave somebody I know a smackdown for leaving out that all-important hyphen. But I see now that even Marvel itself got mixed up at first, as this page from Amazing Fantasy #15 (Spidey’s debut, remember?) proves.

The third paragraph refers to the web-slinger not just as “Spiderman,” but as “The Spiderman”—something that as a former Marvel Comics proofreader makes my skin crawl!

I’m pretty sure this wasn’t the last time Marvel messed up … but at least now I understand why others might get it wrong, too.

I created my earliest fiction (well, save for the lies I told my parents) somewhere between age 8 and 11. And the story I wrote was an adventure I couldn’t then get from comic books; not because it couldn’t be done, but because comics hadn’t yet evolved to the point where the corporate entities had the will to do it. It starred all of the Marvel and DC heroes of the day in an epic melee, battling across company lines. Because that was a fannish dream—to erase the boundaries between Marvel and DC and put those heroes and villains in one big playground.

I’d have to wait until 1976 to see the real thing, in the first ever company crossover, Superman vs. The Amazing Spider-Man, written by Gerry Conway.

One of the many documents I’ve been saving since my days in the Marvel Bullpen has been a photocopy of Gerry’s original Marvel-style plot for the book. I haven’t bothered sharing this synopsis online up until now because I was sure someone else must surely have already done it. But an Internet search, as well as a survey of those who ought to know, revealed to me that no one’s ever posted the following outline of Superman vs. The Amazing Spider-Man before.

And so—because information wants to be free—check out something I’ve been lugging around in a file folder for more than three decades. Enjoy another taste of behind-the-scenes secret history.

With my birthday at the other end of this month—why, it’s exactly four weeks from today!—I know you’re wracking your brain trying to figure out exactly what to get me to celebrate the date. Well, wrack no further, because over on eBay, I’ve located the perfect gift.

Back in 1994, just two months before his death, Jack Kirby recreated his original cover for Amazing Fantasy #15 (first published in 1962), and that beautiful penciled artwork is now up for sale. The asking price is a mere $60,000. And I know that when it comes to showing your love for me, cost is no object.

Don’t worry. If a couple of you feel you need to chip in together, I won’t hold it against you.

Over on Facebook recently, Steve Niles posted the front and back covers to the 1975 album Spider-Man: Rock Reflections of a Superhero, the rock opera which, unlike Spider-Man: Turn Off the Dark, never got any of its performers injured. (Well … as far as I know.) It brought back many memories, because I was on staff at Marvel then, and one of my assignments was to act as an advisor to the creators of the project, making sure they correctly understood the finer points of Spider lore.

Steve’s post sent me scurrying to find my personal copy of the album. Here’s the way most people saw the back cover.

But the copy I was given looks quite different.

I can remember long talks at a recording studio on Park Avenue during which I’m sure I was overly passionate about who the characters were and how their lives intersected. Though I never got album credit for my work, as you can see, the creators did thank me profusely for my efforts.

Terence P. Minogue wrote, “Thank you for your help with this album. You gave us an insight to Comic Art that was crucial and invaluable to completing this project.” And Tommy West and Terry Cashman also signed the album.

Who were these guys? To be honest, I wasn’t that musically inclined, so their names meant little to me, and I hadn’t realized the level of musician that was involved in the project. But by doing a search on their names now, I see that Cashman and West were producers of, and Minogue was a musician and vocalist on, the Jim Croce album I Got a Name.

If I’d realized that at the time, I would have been very impressed, and maybe in too much awe of them to propound so self-righteously about Marvel minutiae. Better that I didn’t know!

If you want a sample of how it all turned out, give a listen to a couple of cuts.

Happy birthday, John!

If I am remembered for nothing else from my relatively few years working in comics, it will likely be for having scripted your debut story. The six-page tale, “Chaos at the Coffee Bean,” appeared as a back-up in 1977′s Amazing Spider-Man Annual #11.

Here’s the splash page (click to view at a larger size):

Amazingly, up until the future star received this assignment, he was being discriminated against. No one would give him a shot because his Dad was Marvel Art Director and Spider-Man artist supreme John Romita (who had no need yet to be identified by a Sr. after his name). No one wanted to be seen as rewarding John, Jr. on the basis of his family connection alone.

I thought that was a stupid idea. Talent should out, and as I said at the time, the only thing worse than nepotism is anti-nepotism—not giving a shot to some who would otherwise have deserved it. (more…)