Spidey
I’ve been rereading the early issues of Spiderman. I’d forgotten what sheer brilliance they were, funny and heartwarming. A couple of things have struck me as I’ve been reading.
First of all, damned if Steve Ditko’s art wasn’t absolutely terrific. He captures such amazing weight to his figures with such clean and simple line work. This panel from the Amazing Spiderman #2 (1963) is a perfect example of that, capturing a tired and satisfied Peter Parker.
The last panel from that story is another great example of Ditko’s craftsmanship, simple lines delineating muscle and shadow and weight, while the Vulture literally glares at Spidey/Peter in the inset, effortlessly foreshadowing the conflict to come.
Another component of Steve Ditko’s work, one that I believe was critical to the success of the character, is the movement his figures are infused with.
This panel (from issue 13) again shows Ditko’s skill at capturing figures in motion with tremendous simplicity.
Look at how simple the line work is, and how magnificently the reader “feels” the falling figure.
The second thing that strikes me is the sheer volume of creativity on display in the first issues. For instance, the line up from the first 12 issues: Dr. Octopus appears in three issues (#3, #11, #12), the Vulture in two (#2, #7), plus four other major villains from the series are introduced: the Chameleon (#1), the Sandman (#4), the Lizard (#6), and Electro (#9). The Fantastic Four appear in two issues (#1,#5) (three if you count #8 with the Human Torch), and Dr. Doom appears in one (#5).
What a phenomenal first year, arguably—in my opinion—the finest run in the history of comics.
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