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Author: DesertEagle0072
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Added: April 14, 2009

Spider Man The Ultimate Guide Amazing Spider Man DK Publishing

Unless Peter Parker decides to pen his own autobiography someday, you’re not going to find a better guide than this to the life and times of your friendly neighborhood Spider-Man. From that fateful radioactive bite in the science hall up to Spidey 2099, DK’s Ultimate Guide recounts all the career milestones–major and minor–of Stan Lee’s web-slinging wall-crawler. Organized and authored by Tom DeFalco, former Marvel editor in chief and the series’ bestselling author, this guide pulls together the storyline’s many twists and turns (chronologically, by decade) and devotes big spreads to nearly every noteworthy ally, friend, and villain (with one curious omission in the Shocker). Special sections cover episodes like the alien costume, the regrettable clone saga, and the wedding to Mary Jane, while panel after panel of original art (over 600 images in all) flesh out the action (a particular treat with the corny old dialogue and art).

DeFalco makes some small missteps–inevitable in any fan-boy project–and certainly The Ultimate Guide will feel dated as the series evolves, but as a comprehensive guide, it just doesn’t get any better. Throw in a foreword by the inimitable Stan Lee, and you’ve got a book that would make even Peter Parker proud. –Paul Hughes

User Ratings and Reviews

4 Stars Great reference book!
“Spider-Man: The Ultimate Guide” is a must-have book for all the wall-crawler’s fan! It has information about lots of characters and a fantastic spidey’s time-line! The illustrations are as good as well, and you can even find information on alternative Spider-Man series, like Spider-Girl, and Spidey 2099. Although the book is very nicely done i still missed more detailed profiles, anyway you will sure not regret for buying this one!

5 Stars Spider-Man: The Ultimate Guide
Tom De Falco’s comprehensive SPIDER-MAN guide is one of my favourite spidey books, covering everything from the comic’s origins in the 60s to the recent movies. With some great insight into the characters in the world of comics and good layout, this guide tells you all you need to know about Peter Parker, Mary Jane and assotment of villians (Green Goblin, Doc Ock, Venom et all). DeFalco’s extensive research has paid off, making this an essential addition to the already bookshelf-breaking collection of comic book guides. This is a must-have book for any SPIDER-MAN enthusiast.

5 Stars Review From a Future Critic
I never read a Spider-man comic book, but I wanted to know all about Spidey, his allies, and his enemies. This ended my search!

5 Stars A great resource for any fan of Spidey
I have been a rabid Spider-Man fan, reader, and collector for the past 13 years. In that time, I’ve seen some of the best (1980’s to 1993) and worst (Clone Saga) this hero has to offer. IN addition, I have collected every issue ever published. So, I’m very knowledgable about SPider-Man and his world. Still, this book is a delight to read. I didn’t learn anything new, but it is well written, spectacularly illustrated with original comic art from some of Spidey’s most legendary artists (Ditko, Romita Sr., Romita Jr., Frenz, Andru, Sal Buscema, Gil Kane, McFarlane, Bagley, Larsen). New fans will learn a lot from this book, but no matter how long you’ve been a fan of Spidey, this book is a treasure trove for you!!

5 Stars My kids love it!
We bought this book for our five year old who loves Spiderman, but our whole family has enjoyed learning more about the villains and other characters in Spidey’s world. It is fun to learn the origin of characters we are familiar with and some we had never heard of before. There are lots and lots of illustrations to keep the kids’ attention, and the stories and bios are interesting enough for adults as well. The binding has fallen apart on our book- which may have survived better under normal wear and tear- but that is mostly because my son takes it to bed with him since he loves this book so much. Overall, a great book for kids and adults too.

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Comic Book Nation The Transformation of Youth Culture in America

“Congratulations to Bradford W. Wright for penning one of the most comprehensive and readable accounts of the pervasive effect that comic books have had upon generations of readers throughout America, and indeed — the world.” — Stan Lee

As American as jazz or rock and roll, comic books have been central in the nation’s popular culture since Superman’s 1938 debut in Action Comics #1. Selling in the millions each year for the past six decades, comic books have figured prominently in the childhoods of most Americans alive today. In Comic Book Nation, Bradford W. Wright offers an engaging, illuminating, and often provocative history of the comic book industry within the context of twentieth-century American society.

From Batman’s Depression-era battles against corrupt local politicians and Captain America’s one-man war against Nazi Germany to Iron Man’s Cold War exploits in Vietnam and Spider-Man’s confrontations with student protestors and drug use in the early 1970s, comic books have continually reflected the national mood, as Wright’s imaginative reading of thousands of titles from the 1930s to the 1980s makes clear. In every genre — superhero, war, romance, crime, and horror comic books — Wright finds that writers and illustrators used the medium to address a variety of serious issues, including racism, economic injustice, fascism, the threat of nuclear war, drug abuse, and teenage alienation. At the same time, xenophobic wartime series proved that comic books could be as reactionary as any medium.

Wright’s lively study also focuses on the role comic books played in transforming children and adolescents into consumers; the industry’s ingenious efforts to market their products to legions of young but savvy fans; the efforts of parents, politicians, religious organizations, civic groups, and child psychologists like Dr. Fredric Wertham (whose 1954 book Seduction of the Innocent, a salacious expos? of the medium’s violence and sexual content, led to U.S. Senate hearings) to link juvenile delinquency to comic books and impose censorship on the industry; and the changing economics of comic book publishing over the course of the century. For the paperback edition, Wright has written a new postscript that details industry developments in the late 1990s and the response of comic artists to the tragedy of 9/11. Comic Book Nation is at once a serious study of popular culture and an entertaining look at an enduring American art form.

User Ratings and Reviews

3 Stars Comic Book Notion
Wright has a brisk style and his story from the origins of Superhero comic books in 1938 to the mid 1990s decline due to an overheated market, is familiar enough. He certainly has read a lot of comics and it shows. As the reviews here suggest this book has become a standard history of comic books and American culture. Since I write on comics myself my comments may seem snippy, but they come from an engagement with Wright’s work and the wish he had done just a little more given the good work he has produced. My reservation about the book is that too much of Wright’s argument is about the way comic books reflected American culture and too little suggests ways comic books may have shaped American culture. For instance, Wright thinks comic books worthy of study in that they offer “a fun-house mirror of life” (xiv). That statement is true enough, but any product of a society offers some way of understanding that society. With comics (and indeed most goods and services, literature and so on) I think scholars can delve a little deeper and try to understand the ways they might have helped shape societies.

5 Stars An Outstanding History of the Comics and Their Place in American Cultural History
A scholarly yet extremely readable and enjoyable account of the history of comics and how they fit into and reflect American culture since the 1930’s. Mr. Wright’s account of Frederic “Seduction of the Innocent” Wertham and his attacks on the comic book industry in the late 1940’s and early 1950’s is the most thoughtful and even-handed I have ever read. This book belongs alongside Gerard Jones’ wonderful Men Of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book as the best overall histories of the comics ever written. It’s very informative and highly entertaining, a truly terrific read.

5 Stars Great buy. Great read. SO WORTH IT
If you have a passion for comics or for American culture this is really a great book. It’s a lot bigger than I thought. It’s also a lot more fun then I thought. It isn’t a dry read at all. Engaging and interesting, I would recommend this to anyone.

3 Stars Too Much That is Not Discussed
There is simply too much that is not discussed for this to be a truly effective book, including most of DC and Marvel’s non-superhero output, so that their war, western, and romance comics are neglected and the horror boom of the 1970s is largely ignored. The many superhero comics of the 60s that were published by companies other than DC and Marvel are also overlooked. Harvey and Gold Key are barely mentioned and to read this book, you would think that Charlton only printed war comics.

5 Stars An amazing book!
I don’t know that I can write this review without injecting it with ample amount of gushing praise, but I will try.

I teach media and communications at the college level and have been studying pop culture and its effect on society for over 20 years.

That said, this book was only on the periphery of my attention for some time. It took me seeing it was used as a text for a course a fellow instructor at Penn State to buy it and read it.

To say “I couldn’t put it down” is cliche, but I honestly could NOT resist reading this book. I often read several books at a time, but this book demanded my constant attention.

While it covers the same ground as many histories of comic books do (in particular Men of Tomorrow), and while many comic fans who have studied their favorite medium’s past will already be familiar with many of the points Wright brings up in Comic Book Nation, this book is never less than entertaining and enlightening.

What makes it a bit different from other histories is not so much that Wright is a comic lover, but that he lets that love shine through.

He makes no aplogies when comics made him (and probably many of his reader) cringe and also praises creators, creations, and comics where praise is needed.

He also offers the most balanced account of the oft-discussed Seduction of the Innocent era of comic books I have read to date.

This book is a joy.

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Ultimate Spider Man Vol 18 Ultimate Knights

User Ratings and Reviews

5 Stars everything the last guy said, but……..
………the edition I just finished had issue 111 in it. And it rocked.

Now I need Vol 19. Lets go. Now

4 Stars Bendis and Bagley set a record as Spider-Man and Daredeveil take down the Kingpin
“Ultimate Knights” was the last story arc on “Ultimate Spider-Man” that writer Brian Michael Bendis and penciler Mark Bagley did together in establishing a new record for most consecutive issues done by a writer-artist team (the previous record had been Stan Lee and Jack Kirby doing the first 102 issues of “The Fantastic Four”). Volume 18 of these “Ultimate Spider-Man” trade paperback collections contains issues #106-110, and knowing it is the last story arc by Bendis and Bagley (inked by Drew Hennessy) together makes me think that explains why they throw so many Ultimate Marvel superheroes into the mix for this last roundup. I have to say that I thought there were too many superheroes running around in this one and that they overly complicate the end game that is the payoff here.

As the cover indicates, we start off with Daredevil, who back in “Ultimate Spider-Man Annual” #2 had warned our young hero off of trying to be a teenage superhero. Now, as his alter ego, lawyer Matt Murdock, Daredevil offers Spider-Man to be in on an opportunity to help take down Wilson Fisk, the Kingpin of Crime in New York City. That leads to a meet of a group that includes not only Daredevil but also Iron Fist, Shang-Chi, Dr. Strange, and Moon Knight. The plan is to send Moon Knight, or rather Ronin, a new aspect of his fractured personality, undercover as a new hit man for the Kingpin and infiltrate the crime organization with the goal of bringing it and the Sidney Greenstreet-clone at the top of it down. The problem is that Moon Knight is so submerged in his Ronin persona then when the Kingpin order’s him to capture Spider-Man, that is exactly what he does.

The high point of this story ends up being a very interesting little talk between Fisk and Peter, in which the Kingpin makes it clear that he “owns” Spider-Man in a way that young Peter Parker could never have imagined. On the one hand “Ultimate Knights” does not really have a counterpart in the original “Amazing Spider-Man,” but it does resonate off of what has happened the past year with Marvel’s “Civil War,” where so many secret identities have been revealed. Bendis and Bagley deal with what happens to essential loners like Spider-Man and Daredevil when somebody like the Kingpin knows who they are; there is an inherent limitation in that superheroes never just go out and kill the people who know their secret identity, although convenient deaths often become a part of the equation. But not with Bendis and Bagley, who feel compelled to find a more creative way to maintain the equilibrium of their characters in a chaotic world. Besides, this one ends with a nice little ironic twist and you know how much I like irony.

Ever since “Ultimate Spider-Man” hit the century mark the problems created by those who know that Peter Parker is Spider-Man have become more prominent. Now that Aunt May knows that changes a lot of things, and the next major story arc, “To Kill a Goblin,” is going to deal with what Norman Osborn intends to do about Peter being Spider-Man. On the romantic front, Kitty Pryde has left the X-Men and the Xavier Institute and enrolled at Midtown High, to the surprise of Peter and the anger of Mary Jane. However, that is all backburner stuff for now because Spider-Man has more pressing concerns. Finally, I must say that it strikes me as strange that this volume does not include issue #111, “The Talk,” which was a stand-alone story and the last one drawn by Mark Bagley before Stuart Immonen took over the penciling chores on the title (actually the two took turns penciling #111). That transitional issue works better as a coda to Bagley’s run on the book than as a prelude to the start of Immonen’s gig.

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