BHOC: PETER PARKER, THE SPECTACULAR SPIDER-MAN #32

By this moment in time PETER PARKER, THE SPECTACULAR SPIDER-MAN was past its best days–and even at its highest it had never been a great comic book series. Almost by default, the title was dedicated to providing “more” Spider-Man adventures for readers for whom a single AMAZING SPIDER-MAN release wasn’t enough. These stories existed in continuity with the goings-on over in ASM, but it was always clear that ASM was the driver for the character, the place where meaningful developments took place. This series, much like MARVEL TEAM-UP, wound up being more disposable, a couple of minutes of web-headed entertainment every month. There would be good periods again, but not for some time.

That all said, one thing PPSSM was good at was in in focusing on the life of Peter Parker himself, not simply providing web-slinging action. It’s clear that writer Bill Mantlo liked the soap opera aspect of the character and attempted to steer into that, developing his own secondary cast of friends and acquaintances for Peter in these pages, ones that he could do with as he pleased and not have to worry about ASM pulling in some other direction. He was still at the mercy of the home title in terms of the big stuff–who Peter was involved with, what relations were like at the Daily Bugle, what his most crushing and immediate problems were. But this gave Mantlo some room in which to operate, and he did so as much as he was able.

The artwork in PETER PARKER, THE SPECTACULAR SPIDER-MAN was typically journeyman efforts. It never looked bad, but neither was it at the pinnacle of Marvel visual excitement. In this particular issue, the reliable Jim Mooney provided the pencils, with Frank Springer doing the inking. The art here is fine, but not outstanding. There’s a good sense of environment, good character acting and straightforward storytelling. But there’s also a lack of pizzazz, of electrifying energy or beautiful imagery. The artwork gets the job done and that’s about it. In particular, like so many of the other artists of the 1970s, Mooney’s Spider-Man feels a bit awkward, like the artist can’t quite wrap his mind around the stylized way that the character is meant to move. The pages are almost diagrammatical, just as new editor in Chief Jim Shooter preferred them to be.

A bit hallmark of this particular story is that Peter Parker begins his graduate studies, having recently graduated from college in the main series. This gives Mantlo the opportunity to introduce some additional characters that he’ll be able to turn to in the coming months. These include department chairperson Professor Sloan and rival and potential romantic interest Marcy Kane. Mantlo also brings in Curt Connors, formerly the Lizard, working on a research grant. Connors’ presence is going to connect to the villain for this issue and the next, who isn’t the Lizard but who almost might as well be. This is the Iguana, another different reptile-man.

Having set up the players, the story then moves into the action for the back half of the issue. Peter accompanies Dr. Connors and Marcy Kane to the Bronx Zoo, where Connors intends to drop off an iguana that he’s been working with–and to which he reacted in a fearful manner earlier. This all seems strange to Peter, so when Connors suddenly races away, Peter jets out after him, changing to Spidey along the way. He’s seen Connors transform into the Lizard often enough that he’s aware of the telltale signs, so he wants to be ready for action if he needs to throw down with his reptilian adversary. This of course makes Marcy Kane think even less of Peter, characterizing him as a scatterbrain with poor emotional control. Which, honestly, sounds like a diagnosis that isn’t far off the mark.

Connors races into the House of Darkness, where the assorted reptiles are kept. Peter tries to follow him, but the guard at the gate refuses him entrance. So, becoming Spidey, he sneaks his way in, prowling through the darkness guided by his spider-sense. Using his belt-mounted spider-signal for light, he eventually comes across a body unconscious on the floor. It’s Curt Connors! But before Spidey can drop down to help the stricken scientist, he’s knocked off of his perch by what seems like the tail of the Lizard. Spidey’s confused at this point–isn’t Curt Connors the Lizard?

That confusion only lasts up until the rapidly-approaching final page, on which Spidey is able to turn his spider-signal light around to catch his attacker in its beam. This reveals that he’s not fighting the Lizard at all, but a similar creature that calls itself the Iguana. And that’s the beat on which this story is To Be Continued! Again, a perfectly fine fifteen minutes of entertainment, but nothing that anybody would expect to be remembered 46 years later.