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Chargement... The Amazing Spider-Man: Mayhem in Manhattanpar Len Wein, Marv Wolfman (Auteur)
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STUPENDOUS!Of course it's stupendous. It's ol' Spidey himself in his first ?? yes, first ?? full-length novel.SINISTER!When a baddie drops out of a sky-high window (Did he jump ?? heh heh ?? or was he pushed?), Daily Bugle publisher J. Jonah Jameson wants Spider-Man to take the rap. Has the wall-crawler come to the end of his rope? Does his life hang by a slender thread?GLOBAL!To swing clear of this one, he's got to snoop on an international oil conference. There's blackmail! Radioactivity! And a welcoming committee of death-dealing arch-villains!DIABOLICAL!Who's behind it all? Think hard, ??cause we're not telling. But it just might be that too much tendril looms large in Spider's form Aucune description trouvée dans une bibliothèque |
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The story of Mayhem in Manhattan focuses on Spider-Man being wrongly accused of a murder after he found the body of a man thrown from his penthouse apartment. Meanwhile, in his secret identity as photojournalist Peter Parker, he follows J. Jonah Jameson and Joe Robertson to the site of a meeting where all the world’s oil producers are gathered. Someone has irradiated their oil supplies and is holding them hostage, demanding they pay for a clean supply of oil for one year or else risk the information of their tainted supply going public, thereby driving the world’s governments to invest in alternative energy sources (pg. 62). The story itself works particularly well as it appeared only four years after the end of the OPEC oil embargo. Furthermore, J. Jonah Jameson and Joe Robertson’s distrust of major corporations and investigation fit in well with 1970s skepticism of traditional power structures. As part of this, Wein and Wolfman include a reference to Bob Woodward and Carl Bernstein (pg. 121). Like Ted White’s Captain America and the Great Gold Steal from 1968, Wolfman and Wein initially attempt to hide the big reveal of the villain orchestrating the oil scheme. Unfortunately for their efforts, their description of him attacking the first victim at the story’s beginning somewhat gives it away: he has “a soup-bowl haircut” (pg. 19) and a “grip of steel” (pg. 20) and wears “an olive-green opera cloak” (pg. 18) and “thick dark glasses” (pg. 19). Though they try to obfuscate it, he’s obviously Doctor Octopus.
In tone, the story closely resembles the comics at that point, though Wein and Wolfman do take advantage of the longer format of the novel to add more detail, character development, and even the occasional mild profanity and possibility of characters actually dying. That said, the novel’s third act is pure comic-book action and the story never feels as far removed from the medium that birthed Spider-Man as the previous Marvel Comics novel did from its comics forebears. As a bonus, Wein and Wolfman also include a nice reference to Spider-Man co-creator Steve Ditko (pg. 121). Finally, through Joe Robertson, Wein and Wolfman perfectly sum up Spider-Man’s importance, writing, “So long as he wears that mask, he could be anyone. He could be you, he could be me – he could even be someone like Peter Parker. So long as he wears that costume and that mask, Spider-Man remains a symbol – a symbol of what any man who hates injustice and who fights for the good can become” (pg. 171). ( )