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The Amazing Spider-Man (1963-1998)
Amazing Spider-Man (1963-1998) #116
Spider-Man battles the Smasher!
- GenresComicsSpider ManMarvel
21 pages, Kindle Edition
First published January 10, 1973
About the author
Stan Lee
7,607 books2,375 followersStan Lee (born Stanley Martin Lieber) was an American writer, editor, creator of comic book superheroes, and the former president and chairman of Marvel Comics.
With several artist co-creators, most notably Jack Kirby and Steve Ditko, he co-created Spider-Man, the Fantastic Four, Thor as a superhero, the X-Men, Iron Man, the Hulk, Daredevil, the Silver Surfer, Dr. Strange, Ant-Man and the Wasp, Scarlet Witch, The Inhumans, and many other characters, introducing complex, naturalistic characters and a thoroughly shared universe into superhero comic books. He subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation.
With several artist co-creators, most notably Jack Kirby and Steve Ditko, he co-created Spider-Man, the Fantastic Four, Thor as a superhero, the X-Men, Iron Man, the Hulk, Daredevil, the Silver Surfer, Dr. Strange, Ant-Man and the Wasp, Scarlet Witch, The Inhumans, and many other characters, introducing complex, naturalistic characters and a thoroughly shared universe into superhero comic books. He subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation.
Ratings & Reviews
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Displaying 1 - 3 of 3 reviews
May 26, 2025
ASM #116 kicks off a unique three-part arc that adapts the long-forgotten Spectacular Spider-Man Magazine from 1968—revamped with new dialogue, some new panels, and a slightly different context. The result is a curious mash-up of classic Marvel action, political intrigue, and one very large henchman named The Smasher.
We open with Spidey swinging through town and getting interrupted by, well, a giant man smashing a campaign billboard. It’s the kind of opening that screams “Silver Age Marvel” and sets the tone for an issue that leans more into pulp storytelling than Parker’s usual personal drama. The billboard belongs to political hopeful Richard Raleigh, a clean-cut candidate running for mayor—who, as this issue hints, may not be as squeaky clean as he seems.
Spidey tussles with The Smasher (a giant brute with vague motivations and fists like wrecking balls), and the battle ends inconclusively as Spider-Man has to rescue a pair of campaign workers. It’s classic Parker: torn between stopping a villain and saving innocent lives, and choosing the latter. Meanwhile, a subplot involving J. Jonah Jameson holding onto Peter’s Spider-Man mask adds some light tension and continuity flavor.
The standout feature here is John Romita Sr.’s art. Even though this issue borrows from older material, Romita’s expressive style still sings—especially in the dramatic crowd scenes during Raleigh’s campaign rally, where the ceiling comes crashing down on the audience. It’s Spidey doing damage control in more ways than one, both literally and metaphorically.
That said, this issue does feel like a reworked one-shot rather than a truly fresh chapter in Spider-Man’s ongoing saga. The political angle is interesting but underdeveloped—for now—and The Smasher, while fun visually, isn’t the most compelling threat. However, this arc is clearly just getting started.
We open with Spidey swinging through town and getting interrupted by, well, a giant man smashing a campaign billboard. It’s the kind of opening that screams “Silver Age Marvel” and sets the tone for an issue that leans more into pulp storytelling than Parker’s usual personal drama. The billboard belongs to political hopeful Richard Raleigh, a clean-cut candidate running for mayor—who, as this issue hints, may not be as squeaky clean as he seems.
Spidey tussles with The Smasher (a giant brute with vague motivations and fists like wrecking balls), and the battle ends inconclusively as Spider-Man has to rescue a pair of campaign workers. It’s classic Parker: torn between stopping a villain and saving innocent lives, and choosing the latter. Meanwhile, a subplot involving J. Jonah Jameson holding onto Peter’s Spider-Man mask adds some light tension and continuity flavor.
The standout feature here is John Romita Sr.’s art. Even though this issue borrows from older material, Romita’s expressive style still sings—especially in the dramatic crowd scenes during Raleigh’s campaign rally, where the ceiling comes crashing down on the audience. It’s Spidey doing damage control in more ways than one, both literally and metaphorically.
That said, this issue does feel like a reworked one-shot rather than a truly fresh chapter in Spider-Man’s ongoing saga. The political angle is interesting but underdeveloped—for now—and The Smasher, while fun visually, isn’t the most compelling threat. However, this arc is clearly just getting started.
July 9, 2021
If issue #116 fees like déjà vu then that’s because we’re re-print territory here…
“You may not know that issues #116-118 were an extended version of the 1968 magazine Spectacular Spider-Man #1. We added a few splashes and pages to the original 52-page story and adapted them into the monthly Spider-Man line up. Stan and Roy both felt that the story deserved a wider audience than the magazine originally received and the 1972 election made it topical. It helped save us some time, and readers had a chance to enjoy the three-issue version in color. Since the original Spectacular was done in black and white with tones added, I was stuck with the chore of eliminating the charcoal tones by erasing and touch up with white paint. Jim Mooney’s inks help up beautifully, and he and I teamed up again to do the new title pages, story pages, and covers-some time saver!” -John Romita Snr.
“You may not know that issues #116-118 were an extended version of the 1968 magazine Spectacular Spider-Man #1. We added a few splashes and pages to the original 52-page story and adapted them into the monthly Spider-Man line up. Stan and Roy both felt that the story deserved a wider audience than the magazine originally received and the 1972 election made it topical. It helped save us some time, and readers had a chance to enjoy the three-issue version in color. Since the original Spectacular was done in black and white with tones added, I was stuck with the chore of eliminating the charcoal tones by erasing and touch up with white paint. Jim Mooney’s inks help up beautifully, and he and I teamed up again to do the new title pages, story pages, and covers-some time saver!” -John Romita Snr.
July 2, 2026
why is raleigh so important idgaf ab comic joe biden
This entire review has been hidden because of spoilers.
Displaying 1 - 3 of 3 reviews