In June 1995’s “Web of Spider-Man” #125, right in the middle of ‘The Clone Saga,” Marvel introduced readers to a new Green Goblin. This Goblin, complete with prerequisite 90s redesign, was seemingly determined to kidnap the cloned Gwen Stacy on the run with Miles Warren. But after a tussle with Warren and The Scarlet Spider, the Goblin returns to his home in Manhattan to lament making “a bad situation much worse,” noting that he has “Plenty to learn about power and responsibility.” Four months later, he would get his own solo title, properly introducing us to this new, heroic Green Goblin. One who is, according to the opening splash page, “ssssmoking!” Parts of this new series would be a little dated.
Written by Tom DeFalco
Art by Scott McDaniel
Letters by Jim Novak
Colors by Gregory WrightWhile investigating properties once owned by Harry Osborn, Phil Urich discovers the secret laboratory of the Green Goblin before taking the mantle for himself.
After a splash page assuring us that while New York is full of “masked jerks” and “muscle bound vigilantes,” there’s never been a “costumed dude like me,” we’re introduced to the man behind the mask: Phil Urich, nephew of Daily Bugle report and Daredevil mainstay Ben. Phil’s a college dropout, unmotivated and falling in with a bad crowd. After losing his job at a downtown video store, his Uncle Ben (hey, wait…) takes him on as an intern, assigning him to research a warehouse purchased by Harry Osborn. Though after letting it slip to his sketchy childhood friend “Fast Freddie,” local gang leader Ricko the Sicko shows up to ransack the warehouse, taking Ben hostage in the process. While attempting to save his uncle, Phil stumbles on a hidden room full of Goblin gear, getting dosed in the same chemicals that gave the Osborns their abilities. Using his newfound powers, Phil defeats Ricko’s gang before flying off into the night.
As an origin story, it works. Phil gets his powers as a result of a robbery he caused, albeit indirectly. It gives a little bit of metaphorical weight to him using a supervillain identity for good. If anything, Phil could have been a bit more of a scumbag. Not only would making Phil be more directly involved with Ricko add a bit more depth to the character, there’s a good chance it would have helped the scene flow a little better. Because the opening scene involves Phil randomly bumping into Freddie, who kindly offers exposition while the robbery happens across the street.
The pacing is weird in this book. Chunks of the plot move by coincidence or off-panel. And while I do like Phil getting in over his head just by letting the wrong info slip, slip might not be the right word. Phil’s just a little too eager to give out sensitive information. Part of this is due to there being so much to establish right up front. Before we can even get into the new hero’s power and tool set, there’s family dynamics to establish with two different branches of the Urich family, including hints of a sibling rivalry to explore later. We even get a love interest in issue #1, even if she only gets one line in one panel. It’s clear they wanted this book set all the groundwork, so they could jump into monthly Goblin adventures. But it could have used a little smoothing out.
But when the book does get to the new Goblin’s power set, it excels. The whole issue is built around seeing the Goblin in action for the first time, with Phil dispatching Ricko’s gang with all his new abilities and weaponry. Some familiar, like the trademark pumpkin bombs. Some new, like his sonic scream. It’s a fast paced, efficient sequence that shows what the veteran Tom DeFalco can do as a writer. At least when he doesn’t have to untangle the entire Urich family tree.
Scott McDaniel’s art is a great fit for the series, though sometimes it can feel a little rushed itself. Sometimes his lines are a little thin. A couple side characters aren’t drawn consistently. But the action on the page is expressive and animated. And the thick inks balance it, giving the otherwise cartoony style a dark edge. Gregory Wright’s bold coloring fits perfectly, even if he isn’t always concerned with what’s literally happening on the page. Introducing a fully colored Ben Urich as he stands in a grayscale Bugle bullpen is a particular highlight. That being said, some of the designs have aged better than others. Freddie reminded me a little of that kid from the old Pizza Hut comics.
I do want to touch on the Goblin redesign, even if it first debuted in “Web of Spider-Man,” because as far as unnecessary 90s designs go, it isn’t the worst. This look came around two months after Cap Armor, and it was in a regular series a month after whatever was up with Thor. Just adding a tattered cloak isn’t so bad, even if it meant subtracting a shirt. That being said, I didn’t care for it as much as the book itself cared for it. We get a few lines about how “only a total dweeb would design” the classic Norman Osborn costume, with the big reveal that Harry was designing a new suit for the “Now Generation.” So take that, Ditko!
Overall, this issue was better than I was expecting. Going back to 90s back issues is a gamble. But I’m curious to see where the book goes after all pieces are on the board.
