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The Amazing Spider-Man (1999) (Collected Editions) #12
The Amazing Spider-Man, Vol. 8: Sins Past
Holy! Looks like-! It can't be...is it? A stunning new evil emerges to stalk Peter Parker as the biggest Spider-Man event in years rocks the wall-crawler's world! The worst defeat that Peter Parker ever endured - a moment frozen in the minds of Spider-Man fans everywhere - was supposed to be far in his past. But now, two villains - ripped, perhaps, directly from that very moment - have emerged and they threaten to destroy everything that he holds dear!
144 pages, Paperback
First published February 9, 2005
15 people are currently reading
426 people want to read
About the author
J. Michael Straczynski
1,365 books1,287 followersJoseph Michael Straczynski is an American filmmaker and comic book writer. He is the founder of Synthetic Worlds Ltd. and Studio JMS and is best known as the creator of the science fiction television series Babylon 5 (1993–1998) and its spinoff Crusade (1999), as well as the series Jeremiah (2002–2004) and Sense8 (2015–2018). He is the executor of the estate of Harlan Ellison.
Straczynski wrote the psychological drama film Changeling (2008) and was co-writer on the martial arts thriller Ninja Assassin (2009), was one of the key writers for (and had a cameo in) Marvel's Thor (2011), as well as the horror film Underworld: Awakening (2012), and the apocalyptic horror film World War Z (2013). From 2001 to 2007, Straczynski wrote Marvel Comics' The Amazing Spider-Man, followed by runs on Thor and Fantastic Four. He is the author of the Superman: Earth One trilogy of graphic novels, and he has written Superman, Wonder Woman, and Before Watchmen for DC Comics. Straczynski is the creator and writer of several original comic book series such as Rising Stars, Midnight Nation, Dream Police, and Ten Grand through Joe's Comics.
A prolific writer across a variety of media and former journalist, Straczynski is the author of the autobiography Becoming Superman (2019) for HarperVoyager, the novel Together We Will Go (2021) for Simon & Schuster, and Becoming a Writer, Staying a Writer (2021) for Benbella Books. In 2020 he was named Head of the Creative Council for the comics publishing company Artists, Writers and Artisans.
Straczynski is a long-time participant in Usenet and other early computer networks, interacting with fans through various online forums (including GEnie, CompuServe, and America Online) since 1984. He is credited as being the first TV producer to directly engage with fans on the Internet and to allow viewer viewpoints to influence the look and feel of his show. Two prominent areas where he had a presence were GEnie and the newsgroup rec.arts.sf.tv.babylon5.moderated.
Straczynski wrote the psychological drama film Changeling (2008) and was co-writer on the martial arts thriller Ninja Assassin (2009), was one of the key writers for (and had a cameo in) Marvel's Thor (2011), as well as the horror film Underworld: Awakening (2012), and the apocalyptic horror film World War Z (2013). From 2001 to 2007, Straczynski wrote Marvel Comics' The Amazing Spider-Man, followed by runs on Thor and Fantastic Four. He is the author of the Superman: Earth One trilogy of graphic novels, and he has written Superman, Wonder Woman, and Before Watchmen for DC Comics. Straczynski is the creator and writer of several original comic book series such as Rising Stars, Midnight Nation, Dream Police, and Ten Grand through Joe's Comics.
A prolific writer across a variety of media and former journalist, Straczynski is the author of the autobiography Becoming Superman (2019) for HarperVoyager, the novel Together We Will Go (2021) for Simon & Schuster, and Becoming a Writer, Staying a Writer (2021) for Benbella Books. In 2020 he was named Head of the Creative Council for the comics publishing company Artists, Writers and Artisans.
Straczynski is a long-time participant in Usenet and other early computer networks, interacting with fans through various online forums (including GEnie, CompuServe, and America Online) since 1984. He is credited as being the first TV producer to directly engage with fans on the Internet and to allow viewer viewpoints to influence the look and feel of his show. Two prominent areas where he had a presence were GEnie and the newsgroup rec.arts.sf.tv.babylon5.moderated.
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Displaying 1 - 30 of 94 reviews
March 27, 2014
Decided to read this after hearing Sims & Wilson fume at this story again on War Rocket Ajax. So-bad-it's-good, or just salt-the-earth terrible? I feel so abused by JMS after reading this that it's no wonder my thoughts here feel so fragmented. It's like I'm suffering cognitive failure due to repeated torture.
It starts out with some good art by Deodato (good camera work and realism, if heavily reliant on the dark swathes of ink), and the usual melancholic storytelling by Straczynski (monologue-hefty, wordy and very dramatic - and the subtle mistake of two characters telling each other stuff they already know, because the reader doesn't know it -the I-know-how-to-write-for-TV-how-hard-can-comics-be problem). Compound this with "you're going to re-open the history books on what now?", and as it starts to play out even in the first issue, there's every reason to believe no one's coming out of this tale unscarred.
But seriously, what is with the whiny "how does it feel to be alone, scared, abandoned" crap from our villain? This is the worst way to sell a major connection between your characters, or make me think they're anything other than stock soap opera goons.
Jesus Christ, the forensic analysis of the letter is just such crap. If they uncovered every scrap of latent writing on the page, why didn't partial words and even just fragmentary letters show up? Why do we only see whole phrases and complete words? And why Jesus why didn't Spidey take the letter to Matt Murdock to run his superhuman fingers across instead? I thought of that as soon as there were impressions to be deciphered, and the idea didn't even get mentioned by our smart resourceful characters. Sheesh, wotta maroon.
Peter goes and digs up a grave?
The girl villain replicates the look right down to the hairband and haircut? Seriously? WTF people? Are we that friggin stupid, or do you just not know any humans who've procreated? No one looks *and* dresses exactly like their parents did years ago.
OMFG. MJ's been holding out on a secret from Peter for 50 years, and decides to come plain & clean about it now? And confesses only after Peter gives a cliffhanger-Friday-episode-that-will-keep-em-hanging-on-until-Monday speech? I actually laughed out loud at the Peter-vs-MJ confrontation - almost woke my partner up. That's how badly contrived this whole scenario is. JMS pulls out every argumentative trick to try to explain why we have NEVER heard a whisper of this, but it's just insincere, impossible-to-swallow crap. (Leaning on the Uncle Ben vow was awfully cheap too.)
Eye roll of the century to see JMS make Parker act like the explanations somehow make sense, and how he just drones on and on about all the ways the odd little details of the past somehow prove this brainless idea.
Burst out laughing at the splash page that followed. Parker goes full-on Kirk from Star Trek 2, and it's so painfully dramatic I need a morphine prescription.
Wait - it gets better. And by better, I mean horrifically bad in so many ways. Let me describe one. The climax includes a police surround in which lethal force is authorized because ... well not because Spider-Man is a menace, or that he's gone on a killing rampage - it's because he's *talking* to the villains while standing at the top of a suspension bridge, and their being there could snap the cables. Of a 100+-year-old suspension bridge that has carried 1000's of tons of vehicles and people at any one time without threat of failure. For a century.
I am left with one straightforward question:
Did JMS suffer a blow to the head in 2005? Perhaps a near-fatal accidental stabbing with his writing instrument, as he lay his head down on the desk to sleep? Or maybe just dig his finger a little too far up the nostril one time and poked his brain?
Seriously. How far up the retard tree you gotta climb to come up with this shit - and worse, to let it survive multiple edit passes?
Not to mention the ridiculous parallel scene that's supposed to be Spidey's moment of redemption...which might feel earned if it was woven into a story less leaden than this. As it was, I just stared at the page in disbelief - if I'd just watched someone steal my TV right in front of me, and walk calmly down the street with it, I wouldn't have been more incredulous.
Christ, one of the villains finds out the truth in a scene... I just can't even. The MST3K gang should be calling this one.
Doctor comes out of surgery on one of the villains: "There's something...odd about her blood. It's been altered in some way. Some genetic marker that I've never seen before." Like the available surgeon just happens to (a) also be an experienced geneticist and (b) be able to generate and analyse her genetics in the space of two hours. That's some awesome medical facility you got there, Marvel New York. The Plague must be an afternoon project for these dudes.
It's not even worth talking about the outcome, because it's about what you'd expect from this soap opera, and we even throw in a little amnesia at the end just to drive the point home. (I'm surprised they didn't bring out a long-lost evil twin or surprise courtroom confession.)
Now I feel forced to go back through the JMS books I rated so highly in the past - was I high, or does JMS actually have chops beyond just TV weekly drama bullshit? I'm worried that he *never* had any comics-specific writing ability, but I was too caught up in the dramatics to notice. Who knows. What I do know is this: anyone who's been reading good comics for a while, and who knows and has lived with the early Spidey legends for a while, can't possibly consider this a *good* book - or even one worth buying on a bet. In fact, I dare you.
It starts out with some good art by Deodato (good camera work and realism, if heavily reliant on the dark swathes of ink), and the usual melancholic storytelling by Straczynski (monologue-hefty, wordy and very dramatic - and the subtle mistake of two characters telling each other stuff they already know, because the reader doesn't know it -the I-know-how-to-write-for-TV-how-hard-can-comics-be problem). Compound this with "you're going to re-open the history books on what now?", and as it starts to play out even in the first issue, there's every reason to believe no one's coming out of this tale unscarred.
But seriously, what is with the whiny "how does it feel to be alone, scared, abandoned" crap from our villain? This is the worst way to sell a major connection between your characters, or make me think they're anything other than stock soap opera goons.
Jesus Christ, the forensic analysis of the letter is just such crap. If they uncovered every scrap of latent writing on the page, why didn't partial words and even just fragmentary letters show up? Why do we only see whole phrases and complete words? And why Jesus why didn't Spidey take the letter to Matt Murdock to run his superhuman fingers across instead? I thought of that as soon as there were impressions to be deciphered, and the idea didn't even get mentioned by our smart resourceful characters. Sheesh, wotta maroon.
Peter goes and digs up a grave?
The girl villain replicates the look right down to the hairband and haircut? Seriously? WTF people? Are we that friggin stupid, or do you just not know any humans who've procreated? No one looks *and* dresses exactly like their parents did years ago.
OMFG. MJ's been holding out on a secret from Peter for 50 years, and decides to come plain & clean about it now? And confesses only after Peter gives a cliffhanger-Friday-episode-that-will-keep-em-hanging-on-until-Monday speech? I actually laughed out loud at the Peter-vs-MJ confrontation - almost woke my partner up. That's how badly contrived this whole scenario is. JMS pulls out every argumentative trick to try to explain why we have NEVER heard a whisper of this, but it's just insincere, impossible-to-swallow crap. (Leaning on the Uncle Ben vow was awfully cheap too.)
Eye roll of the century to see JMS make Parker act like the explanations somehow make sense, and how he just drones on and on about all the ways the odd little details of the past somehow prove this brainless idea.
Burst out laughing at the splash page that followed. Parker goes full-on Kirk from Star Trek 2, and it's so painfully dramatic I need a morphine prescription.
Wait - it gets better. And by better, I mean horrifically bad in so many ways. Let me describe one. The climax includes a police surround in which lethal force is authorized because ... well not because Spider-Man is a menace, or that he's gone on a killing rampage - it's because he's *talking* to the villains while standing at the top of a suspension bridge, and their being there could snap the cables. Of a 100+-year-old suspension bridge that has carried 1000's of tons of vehicles and people at any one time without threat of failure. For a century.
I am left with one straightforward question:
Did JMS suffer a blow to the head in 2005? Perhaps a near-fatal accidental stabbing with his writing instrument, as he lay his head down on the desk to sleep? Or maybe just dig his finger a little too far up the nostril one time and poked his brain?
Seriously. How far up the retard tree you gotta climb to come up with this shit - and worse, to let it survive multiple edit passes?
Not to mention the ridiculous parallel scene that's supposed to be Spidey's moment of redemption...which might feel earned if it was woven into a story less leaden than this. As it was, I just stared at the page in disbelief - if I'd just watched someone steal my TV right in front of me, and walk calmly down the street with it, I wouldn't have been more incredulous.
Christ, one of the villains finds out the truth in a scene... I just can't even. The MST3K gang should be calling this one.
Doctor comes out of surgery on one of the villains: "There's something...odd about her blood. It's been altered in some way. Some genetic marker that I've never seen before." Like the available surgeon just happens to (a) also be an experienced geneticist and (b) be able to generate and analyse her genetics in the space of two hours. That's some awesome medical facility you got there, Marvel New York. The Plague must be an afternoon project for these dudes.
It's not even worth talking about the outcome, because it's about what you'd expect from this soap opera, and we even throw in a little amnesia at the end just to drive the point home. (I'm surprised they didn't bring out a long-lost evil twin or surprise courtroom confession.)
Now I feel forced to go back through the JMS books I rated so highly in the past - was I high, or does JMS actually have chops beyond just TV weekly drama bullshit? I'm worried that he *never* had any comics-specific writing ability, but I was too caught up in the dramatics to notice. Who knows. What I do know is this: anyone who's been reading good comics for a while, and who knows and has lived with the early Spidey legends for a while, can't possibly consider this a *good* book - or even one worth buying on a bet. In fact, I dare you.
February 3, 2022
AT LAST ROMITA LEAVES and Deodato designs an AWFUL story with MEDIOCRE ART!
How the hell....?????????
How the hell....?????????
July 8, 2023
Yep! Still pretty bad.
But a bit of a surprise not the worst thing I ever read. There are good moments, mostly relying on Peter and MJ's relationship and how they are there for each other. And the idea of Gwen having super babies is a weird one but could be intriguing as Peter gets to try to save one the way he couldn't before so that was nice.
But holy macaroni, you're going to make the father Norman? And on that of that have Gwen have sex with him simply because he was "tired and sad" and something "about him made her just...explode" like what in the fuck? Okay not exact quote, but it's just as nonsensical. I'm not against people making mistakes in fiction because in real life it happens far to often but no way, in any fucking universe, would Gwen ever sleep with Norman.
The plotline seemed to want to move quickly but spread out for a mystery. But you could just tell JMS wanted to move on as quick as possible the way he ended everything but summing it up in 22 pages after all is reveal. It's a bad story overall with a couple of good moments.
A 2 out of 5 at best.
But a bit of a surprise not the worst thing I ever read. There are good moments, mostly relying on Peter and MJ's relationship and how they are there for each other. And the idea of Gwen having super babies is a weird one but could be intriguing as Peter gets to try to save one the way he couldn't before so that was nice.
But holy macaroni, you're going to make the father Norman? And on that of that have Gwen have sex with him simply because he was "tired and sad" and something "about him made her just...explode" like what in the fuck? Okay not exact quote, but it's just as nonsensical. I'm not against people making mistakes in fiction because in real life it happens far to often but no way, in any fucking universe, would Gwen ever sleep with Norman.
The plotline seemed to want to move quickly but spread out for a mystery. But you could just tell JMS wanted to move on as quick as possible the way he ended everything but summing it up in 22 pages after all is reveal. It's a bad story overall with a couple of good moments.
A 2 out of 5 at best.
November 10, 2018
After a pretty long list of good to very good Spidey stories JMS slipped and wrote this over-extended boring piece of soap opera.
Warning: Spoilers ahead.
Spidey and Peter are under the threat of two unknown costumed people. Who are they? Ta-dam... Gwen's kids! And they want revenge because they think Spider-Man is responsible for their mother's death.
Gee... with such a corny introduction I knew I was in for the long haul. And just wait to know who's the father! (No, it's not Pete). I could have expected this kind of lousy twists out from left field from many 2-bits hacks but not from JMS. His comics often show his experience as a screenwriter but are usually above the lot and he always managed to somehow save soapy stuff with good dialogues and interactions between the characters. So far.
Every situation, every dialogue, are laden with phony second rate twists and revelations and long boring talking scenes. And it goes for six long issues! There's no real stake, about zero tension, just an awful urge to yawn and get it over with.
On the drawing board Mike Deodato brings his realistic approach but doesn't impress me as the ultimate Spidey penciller. All the more with Joe Pimentel impersonal inks.
Warning: Spoilers ahead.
Spidey and Peter are under the threat of two unknown costumed people. Who are they? Ta-dam... Gwen's kids! And they want revenge because they think Spider-Man is responsible for their mother's death.
Gee... with such a corny introduction I knew I was in for the long haul. And just wait to know who's the father! (No, it's not Pete). I could have expected this kind of lousy twists out from left field from many 2-bits hacks but not from JMS. His comics often show his experience as a screenwriter but are usually above the lot and he always managed to somehow save soapy stuff with good dialogues and interactions between the characters. So far.
Every situation, every dialogue, are laden with phony second rate twists and revelations and long boring talking scenes. And it goes for six long issues! There's no real stake, about zero tension, just an awful urge to yawn and get it over with.
On the drawing board Mike Deodato brings his realistic approach but doesn't impress me as the ultimate Spidey penciller. All the more with Joe Pimentel impersonal inks.
December 1, 2017
Reasonably entertaining, but when the plot 'reveal' is . . . well, revealed, you may imagine yourself hearing the opening notes of TV's Days of Our Lives.
July 19, 2018
I’ve read a lot of Spider-Man, but I don’t know how I managed to miss this wild piece of Spidey canon. What a story.
December 18, 2015
Una de las veinte razones por las cuales dejé de leer a Spiderman hace mucho tiempo fue por J. Michael Straczynski, un sobrevalorado escritor que hizo bien las cosas en Midnight Nation y luego empezó a destrozar todo lo que tocaba. Entre él y Joe Quesada mataron a Spiderman, entre ellos mataron al matrimonio ficticio más largo de la historia y decidieron destrozar a uno de los mejores personajes secundarias de la historia de los cómics (Gwen Stacy) cuya muerte fue épica, triste, bien escrita (y dibujada) y la hicieron, en esta mierda de cómic, una puta insensible y redujeron a Peter Parker a un pusilánime personaje cuadrado que quiere venganza. ¿Quién se cree Straczynski que es? Ya fue mucho con matar a Ben Reilly, resucitar mil veces a la tía May (uno de los más jodidos personajes secundarios de este y otros cuatro universos alternos) y hacer una ridícula historia donde Peter Parker vende su alma (y su matrimonio) para salvar de la muerte (por quincuagésima vez) a la tía May. Este tremendo golpe a Gwen Stacy fue lo peor y más bajo que Marvel pudo haber hecho. Marvel/Disney: pueden lamerme las pelotas.
November 17, 2016
No se puede contar mucho sobre este cómic sin caer en spoilers, sólo decir que contiene revelaciones sobre el pasado de Gwen Stacy que no cayeron muy bien entre el fandom, además son números de transición porque Romita Jr dejó la serie y a Mike Deodato aún no se le ve en su salsa... hace un buen trabajo en las escenas cotidianas pero no termina de funcionar en las escenas de acción.
El guión de Straczynski no termina de convencerme, el tomo no deja de ser entretenido pero baja bastante el nivel respecto a los anteriores
El guión de Straczynski no termina de convencerme, el tomo no deja de ser entretenido pero baja bastante el nivel respecto a los anteriores
January 28, 2019
No dejo de pensar en Straczynski gritando a pleno pulmón "¡¡si ya saben como me pongo PA' QUÉ ME INVITAN!!"
March 25, 2019
This is literally one of the worst, if not the absolute worst Spider-Man story ever written.
October 25, 2019
¡Pedazo de arco que se marca J. Michael Straczyinski!
La historia que se nos cuenta en Spiderman: Pecados del pasado realmente cambia muchas cosas del universo arácnido. La historia, como siempre, mezcla lo más íntimo con la acción y la épica, brindando grandes escenas y diálogos.
Excepto un detalle difícil de creer (que es importante al fin y al cabo, pero necesario también), toda la historia rebosa coherencia y ahonda todavía más en la complicada vida de Peter Parker y cómo intenta lidiar su faceta de superhéroe.
La historia que se nos cuenta en Spiderman: Pecados del pasado realmente cambia muchas cosas del universo arácnido. La historia, como siempre, mezcla lo más íntimo con la acción y la épica, brindando grandes escenas y diálogos.
Excepto un detalle difícil de creer (que es importante al fin y al cabo, pero necesario también), toda la historia rebosa coherencia y ahonda todavía más en la complicada vida de Peter Parker y cómo intenta lidiar su faceta de superhéroe.
December 20, 2025
As always, impressively human and devastatingly well-written, but I do agree with the masses that it shits on Gwen’s reputation. MJ was great, Peter was great, Norman, and I really liked the twins and cops.
Probably gonna read his Ezekiel intro/arc next.
Probably gonna read his Ezekiel intro/arc next.
June 26, 2016
I really understand why Spider-Man doesn't age. He would be in his 60's by now, and no wants to read that comic. But even so, a story like this annoys me, because it drags this paradox out in to the light and forces me to look at it. As far as I'm concerned, Gwen Stacy and Peter Parker were in college together in the early seventies. If you look at those comics, there's no doubt. It's the seventies.
However, J. Michael Straczynski wrote this story in the early 2000's, and those events are maybe 8-10 years ago from the characters' perspective. Gwen's kids need to have accelerated aging to be adults, even though they'd actually be in their 40's if real life time had passed inside the comic book universe. Peter was in his late 20's in the eighties, and he's MAYBE 30 here. To us, he's been married 30+ years, but he and MJ consider themselves a young newlywed couple. It starts to strain my credibility. I guess that's why I haven't gone back to the Spider-Man books in decades. Despite all the "super crossover epic events"...no one and nothing ever really changes. To me it's better not to go there, because it just highlights that problem.
On top of that weird annoying aspect, it's not a great story. Gwen Stacy's been dead a long time, and going back to that well to re-write the Spider mythos seems like a cheap, contrived attempt to stir up drama. I don't think Gwen needs to be a spotless virgin angel with no secrets, but if a writer wants to travel back down that road, the story ought to be really damn good. This is not that story. What happened in the past is sort of explained, but not really. An affair between Gwen and Norman seems completely out of character for both characters. It basically "just happened" and that's all we know. I would much rather see new stories with the characters, rather than dredging up "shocking" retcons from the depths of the continuity, which feels lazy and unnecessary. If you're going to go back and rewrite history, it should be done better than this. I'm not a fan.
However, J. Michael Straczynski wrote this story in the early 2000's, and those events are maybe 8-10 years ago from the characters' perspective. Gwen's kids need to have accelerated aging to be adults, even though they'd actually be in their 40's if real life time had passed inside the comic book universe. Peter was in his late 20's in the eighties, and he's MAYBE 30 here. To us, he's been married 30+ years, but he and MJ consider themselves a young newlywed couple. It starts to strain my credibility. I guess that's why I haven't gone back to the Spider-Man books in decades. Despite all the "super crossover epic events"...no one and nothing ever really changes. To me it's better not to go there, because it just highlights that problem.
On top of that weird annoying aspect, it's not a great story. Gwen Stacy's been dead a long time, and going back to that well to re-write the Spider mythos seems like a cheap, contrived attempt to stir up drama. I don't think Gwen needs to be a spotless virgin angel with no secrets, but if a writer wants to travel back down that road, the story ought to be really damn good. This is not that story. What happened in the past is sort of explained, but not really. An affair between Gwen and Norman seems completely out of character for both characters. It basically "just happened" and that's all we know. I would much rather see new stories with the characters, rather than dredging up "shocking" retcons from the depths of the continuity, which feels lazy and unnecessary. If you're going to go back and rewrite history, it should be done better than this. I'm not a fan.
November 7, 2019
Sins Past (#509-514). This is definitely JMS' most controversial story arc, amidst a somewhat controversial run. It's so hated by a large portion of the fan base, that even if it hasn't exactly been dropped out of continuity, it's one of those stories that is just generally ignored by everyone who came after. Which is a pity, because I think it's one of JMS' best story arcs.
The hatred is, of course, all about the darkening of Gwen Stacy's character thrrough the introduction of a severe character flaw: that she would fall victim to the charms of Norman Osborn. And perhaps JMS should have seen that coming, because Gwen Stacy was (and is) such a beloved character. But I find it a believable twist that takes her '60s era saccharine sweetness and gives it just a little depth.
Overall, this story feels like a classic Spider-Man story, in a way that nothing else in JMS' magic-infested run did. We got a classic mystery, unveilings of various supporting cast members, deftly crafted secrets revealed to different characters, and the introduction of a new Goblin. This story could have been a major new foundational stone in Spider-Man's mythology, and I suspect JMS thought it should be.
Alas, the spirit of a character who had been dead for longer than she'd ever been "alive" won out over a really deftly crafted and well-told story, and so it's largely been consigned to the ashbin of history instead [5/5].
The hatred is, of course, all about the darkening of Gwen Stacy's character thrrough the introduction of a severe character flaw: that she would fall victim to the charms of Norman Osborn. And perhaps JMS should have seen that coming, because Gwen Stacy was (and is) such a beloved character. But I find it a believable twist that takes her '60s era saccharine sweetness and gives it just a little depth.
Overall, this story feels like a classic Spider-Man story, in a way that nothing else in JMS' magic-infested run did. We got a classic mystery, unveilings of various supporting cast members, deftly crafted secrets revealed to different characters, and the introduction of a new Goblin. This story could have been a major new foundational stone in Spider-Man's mythology, and I suspect JMS thought it should be.
Alas, the spirit of a character who had been dead for longer than she'd ever been "alive" won out over a really deftly crafted and well-told story, and so it's largely been consigned to the ashbin of history instead [5/5].
September 15, 2024
"Sins Past" holds a sense of notoriety in the fandom as being a distinct low point in Straczynski's lengthy run on Amazing Spider-Man, and probably deservedly so. I've always applauded JMS going for some pretty "out there" storylines for the Wall-Crawler since they felt like a much needed refreshment on the mythos and a nice deviation from typical superhero norms, but this might have been the breaking point. Spidey is attacked by two new villains who we soon learn are the kids of Gwen Stacy. What exactly they want and how they connect to Spidey and Peter is what this arc serves to untangle, and lets just say the answers are truly bizarre. Even setting aside the awkward twists in the back-end, these new villains have the flimsiest of motivations and the series has not done any legwork to make these characters or the twists feel important in any kind of way. It's a definite weak spot for the series, and it also doesn't help that Mike Deodato's artwork is such a whiplash shift away from the more expressionistic style of artwork utilized by Romita Jr.
September 20, 2023
This book is very mixed among fans, and I can see why. There was definitely some aspects of this story that change how you view some characters.
But having said that, I thought the story was excellent! It was the most I’ve been into this run so far and the art was a big step up from the previous books.
There were some plot points that I had to overlook in order to fully enjoy it, but I found myself able to do that faulty easily and just enjoy the story for what it was.
Very dark, twisted, action packed, and introduced some characters that I would like to see again.
But having said that, I thought the story was excellent! It was the most I’ve been into this run so far and the art was a big step up from the previous books.
There were some plot points that I had to overlook in order to fully enjoy it, but I found myself able to do that faulty easily and just enjoy the story for what it was.
Very dark, twisted, action packed, and introduced some characters that I would like to see again.
July 8, 2016
Se volete leggere la mia recensione, cliccate qui! http://ascwblog.blogspot.it/2016/07/u...
March 8, 2022
Una de las cosas que disfruto muchísimo de Marvel Saga son las introducciones que se realizan en cada tomo, y aquí no es la excepción, contando todo lo ocurrido tras bambalinas de la saga de Pecados del pasado, y me sorprende la honestidad con que hicieron la introducción, porque es muy sincero la persona que lo escribió sobre el producto que uno va a leer.
Una de las cosas que más valoro de esta época es no apelar al pasado, desde los primeros capítulos Straczynski nos presenta nuevos desafíos e incluso nuevos villanos, todo con tal de no reciclar lo viejo y darnos nuevas historias ya contadas. De esta manera, se siente un Spidey diferente, renovado, con ideas frescas, sin abusar de lo planteado en otras épocas. Si fue esto así, ¿por qué debía recurrir a utilizar conceptos del pasado? Leyendo entrevistas o la misma introducción, JMS quería presentar un concepto interesante: Todas y todos cargamos con pesares y es importante superarlos para continuar con la vida. Creo que no iba mal encaminado, la relación de MJ y Peter había vuelto, por lo que es importante evolucionar o pulir su relación, el problema erradica en cómo trato de hacer esto.
Utilizar un personaje como Gwen era entrar en una pelea directa con los fans, porque no entregas una historia orgánica, donde dijeras: Ah sí, esto podría haber sido, es interesante. Si ella tiene una relación con Norman o con quién quiera, sinceramente no me importa, el tema está que no es natural, la explicación es porque el guion lo quiere así. Sin dudas hubiera sido más razonable que Peter fuera el padre, aunque hubiera distintas situaciones que uno sintiera extrañas, pero finalmente es la idea del autor, las cuales de alguna u otra forma son importantes para prevalecer el concepto general que quiere plantear. Entiendo a dónde quería llegar el autor, consolidar aun más la relación de Peter y MJ, entendiendo que la vida uno tiene distintas situaciones que debe finalmente aceptar y dar un paso hacia adelante. Pero bueno, como digo, es poco creíble la situación, además se utiliza todo para tener otro villano derivado del Duende Verde y pierde sentido.
Siento que el principal problema de Straczynski es forzar una situación para dar un mensaje, que si bien parece interesante como él lo plantea, en el grueso de la historia no se siente natural. No me creo que la situación, no la siento real, pero no quita lo interesante que hubiera sido la idea original: Peter siendo padre de unos hijos con crecimiento acelerado de Gwen. Pero aquí descubrimos uno de los primeros problemas que se verán a futuro en la era JMS, la editorial, donde Quezada empezó a perder confianza en el autor para derechamente indicarle que debía o no hacer. En este caso, utilizar a Norman para ser el padre de estos nuevos villanos me parece muy irreal, no porque Gwen sea santa, como muchos fans se quejaron, ella se puede meter con quién quiera, pero no me parece orgánico que haya sido el Duende Verde. Más encima, utiliza la explicación sobre el viaje a Francia para utilizarlo como un período donde podía haber sido factible, pero todo queda en tantos: “es que justo justo”, que pierde credibilidad toda la historia.
Si bien creo que es el primer gran tropezón que tiene Straczynski, posterior a la partida de Romita Jr., siento que esto también erradica en el gran control que quería tener la editorial sobre las historias de los personajes. Desde mi perspectiva, si le hubieran dado mayor libertad creativa, quizá igualmente hubiera tenido este tipo de tropezones, pero también pudiera haber tenido otros grandes aciertos, como lo sentí en los tomos pasados. Pero todo eso es un caso hipotético donde nunca ocurrió, porque al fin de cuentas lo que desean las editoriales es preservar el negocio.
Una de las cosas que más valoro de esta época es no apelar al pasado, desde los primeros capítulos Straczynski nos presenta nuevos desafíos e incluso nuevos villanos, todo con tal de no reciclar lo viejo y darnos nuevas historias ya contadas. De esta manera, se siente un Spidey diferente, renovado, con ideas frescas, sin abusar de lo planteado en otras épocas. Si fue esto así, ¿por qué debía recurrir a utilizar conceptos del pasado? Leyendo entrevistas o la misma introducción, JMS quería presentar un concepto interesante: Todas y todos cargamos con pesares y es importante superarlos para continuar con la vida. Creo que no iba mal encaminado, la relación de MJ y Peter había vuelto, por lo que es importante evolucionar o pulir su relación, el problema erradica en cómo trato de hacer esto.
Utilizar un personaje como Gwen era entrar en una pelea directa con los fans, porque no entregas una historia orgánica, donde dijeras: Ah sí, esto podría haber sido, es interesante. Si ella tiene una relación con Norman o con quién quiera, sinceramente no me importa, el tema está que no es natural, la explicación es porque el guion lo quiere así. Sin dudas hubiera sido más razonable que Peter fuera el padre, aunque hubiera distintas situaciones que uno sintiera extrañas, pero finalmente es la idea del autor, las cuales de alguna u otra forma son importantes para prevalecer el concepto general que quiere plantear. Entiendo a dónde quería llegar el autor, consolidar aun más la relación de Peter y MJ, entendiendo que la vida uno tiene distintas situaciones que debe finalmente aceptar y dar un paso hacia adelante. Pero bueno, como digo, es poco creíble la situación, además se utiliza todo para tener otro villano derivado del Duende Verde y pierde sentido.
Siento que el principal problema de Straczynski es forzar una situación para dar un mensaje, que si bien parece interesante como él lo plantea, en el grueso de la historia no se siente natural. No me creo que la situación, no la siento real, pero no quita lo interesante que hubiera sido la idea original: Peter siendo padre de unos hijos con crecimiento acelerado de Gwen. Pero aquí descubrimos uno de los primeros problemas que se verán a futuro en la era JMS, la editorial, donde Quezada empezó a perder confianza en el autor para derechamente indicarle que debía o no hacer. En este caso, utilizar a Norman para ser el padre de estos nuevos villanos me parece muy irreal, no porque Gwen sea santa, como muchos fans se quejaron, ella se puede meter con quién quiera, pero no me parece orgánico que haya sido el Duende Verde. Más encima, utiliza la explicación sobre el viaje a Francia para utilizarlo como un período donde podía haber sido factible, pero todo queda en tantos: “es que justo justo”, que pierde credibilidad toda la historia.
Si bien creo que es el primer gran tropezón que tiene Straczynski, posterior a la partida de Romita Jr., siento que esto también erradica en el gran control que quería tener la editorial sobre las historias de los personajes. Desde mi perspectiva, si le hubieran dado mayor libertad creativa, quizá igualmente hubiera tenido este tipo de tropezones, pero también pudiera haber tenido otros grandes aciertos, como lo sentí en los tomos pasados. Pero todo eso es un caso hipotético donde nunca ocurrió, porque al fin de cuentas lo que desean las editoriales es preservar el negocio.
September 30, 2021
One of the most maligned storylines in Spider-man canon, yay! So massively hated, it got a pretty high profile retconning almost 20 years later in Nick Spencer's ongoing run. That being said, it's by far not the worst thing comic I've ever read. It makes some big choices which can be pretty rare, but suffers from severe lack of undermotivating its premise (which can be a problem with any retcon story, but this may be extreme enough to serve as the textbook example).
The extra-textual narrative surrounding this piece (to my understanding of it) is that JMS disowns it and blames its biggest flaw (Norman and Gwen having sex for some reason, etc.) on editorial/JQ, but I don't think that that flaw is the only thing wrong here. There is, theoretically, a way you could have made it work if you had properly motivated their relationship. In fact, I would argue that Norman and Gwen having a relationship works a little bit better than JMS' original premise (Peter has illegitimate children via Gwen) because it fits the writing prompt of, "what's the worst thing that can happen to your character?" But just finding the thing and then presenting it isn't sufficient, you have to motivate its existence, and that's where this falls short. JMS attempts to handle this problem with a throwaway scene where Gwen has sex with Norman because she "feels bad for him," which is such a severely undercooked motivation that it's hilarious. That problem alone deserves all of the derision this storyline has received.
If you can find a way to ignore that, it's an ok story. JMS does the heightened emotions that the story calls for pretty well, most of the interactions play. That is (not to sound like a broken record), when they aren't bending over backwards to motivate the existence of the thing. Which they, pretty often, are. Eh, yeah it's pretty bad.
The extra-textual narrative surrounding this piece (to my understanding of it) is that JMS disowns it and blames its biggest flaw (Norman and Gwen having sex for some reason, etc.) on editorial/JQ, but I don't think that that flaw is the only thing wrong here. There is, theoretically, a way you could have made it work if you had properly motivated their relationship. In fact, I would argue that Norman and Gwen having a relationship works a little bit better than JMS' original premise (Peter has illegitimate children via Gwen) because it fits the writing prompt of, "what's the worst thing that can happen to your character?" But just finding the thing and then presenting it isn't sufficient, you have to motivate its existence, and that's where this falls short. JMS attempts to handle this problem with a throwaway scene where Gwen has sex with Norman because she "feels bad for him," which is such a severely undercooked motivation that it's hilarious. That problem alone deserves all of the derision this storyline has received.
If you can find a way to ignore that, it's an ok story. JMS does the heightened emotions that the story calls for pretty well, most of the interactions play. That is (not to sound like a broken record), when they aren't bending over backwards to motivate the existence of the thing. Which they, pretty often, are. Eh, yeah it's pretty bad.
This entire review has been hidden because of spoilers.
March 24, 2025
Peter finds himself targeted by two mysterious assailants with a grudge against both him and Spider-Man. His investigation into their backgrounds reveals dark hidden truths about his own history and that of Gwen Stacy and Norman Osborn.
I've been aware of this story due to its reputation for some time now; a reputation that is far from positive.
I have to say that this reputation is pretty well-deserved.
Big retcons, where we find out the secret story going on between the panels of iconic comics, have never been something I've enjoyed and usually involve some new writer trying to stamp their legacy over the top of that of a (usually more iconic) writer from the past. This doesn't feel quite that cynical, but it certainly does feel like Straczynski had little or no respect for the tone and intention of the story surrounding Gwen Stacy's death as originally told.
The biggest criticism I've seen levelled at this story is how inappropriate the Gwen/Norman connection is and that criticism is absolutely fair. It is also very much a betrayal of Gwen as a character, cheapening her feelings for Peter by adding in an inexplicable attraction to Norman.
Personally, I would add two more criticisms of my own.
The first is the damage this does to Peter and MJ's relationship. Although we know that Peter will always be a bit hung up on Gwen, to see him going full-on jilted lover over Gwen in front of his WIFE, feels really uncomfortable and a betrayal of all the work done to rebuild their marriage in previous stories.
The other criticism I'd add is that the two characters introduced, Gabriel and Sarah, and their story arc in no way warrant all of the controversy this story kicks up. It's pretty bland and predictable and goes nowhere that would make all of this worthwhile.
* More reviews here: https://fsfh-book-review2.webnode.page *
I've been aware of this story due to its reputation for some time now; a reputation that is far from positive.
I have to say that this reputation is pretty well-deserved.
Big retcons, where we find out the secret story going on between the panels of iconic comics, have never been something I've enjoyed and usually involve some new writer trying to stamp their legacy over the top of that of a (usually more iconic) writer from the past. This doesn't feel quite that cynical, but it certainly does feel like Straczynski had little or no respect for the tone and intention of the story surrounding Gwen Stacy's death as originally told.
The biggest criticism I've seen levelled at this story is how inappropriate the Gwen/Norman connection is and that criticism is absolutely fair. It is also very much a betrayal of Gwen as a character, cheapening her feelings for Peter by adding in an inexplicable attraction to Norman.
Personally, I would add two more criticisms of my own.
The first is the damage this does to Peter and MJ's relationship. Although we know that Peter will always be a bit hung up on Gwen, to see him going full-on jilted lover over Gwen in front of his WIFE, feels really uncomfortable and a betrayal of all the work done to rebuild their marriage in previous stories.
The other criticism I'd add is that the two characters introduced, Gabriel and Sarah, and their story arc in no way warrant all of the controversy this story kicks up. It's pretty bland and predictable and goes nowhere that would make all of this worthwhile.
* More reviews here: https://fsfh-book-review2.webnode.page *
June 22, 2020
After seeing those frames in which are having sex (if you can even call it that, it looked a bit rapey if you ask me)....[in a Joe Exotic voice] I am never going to mentally recover from this.
Wow...I'd heard rumors of this arc, seen it mentioned time and time again as one the worst story lines in comics, one that many would love to see retconned. I haven't read nearly enough comics to say that it is one of the worst, but it was really, really bad. At least it was entertaining and had good art from Deodato Jr, if nothing else (can you imagine JRJR having to supply the art to this arc?). Two stars ONLY because I'll never forget this arc, which is more that I can say for some of the other truly unmemorable arcs. So bad, it's good (but not really).
Spoilers ahead!
Wow...I'd heard rumors of this arc, seen it mentioned time and time again as one the worst story lines in comics, one that many would love to see retconned. I haven't read nearly enough comics to say that it is one of the worst, but it was really, really bad. At least it was entertaining and had good art from Deodato Jr, if nothing else (can you imagine JRJR having to supply the art to this arc?). Two stars ONLY because I'll never forget this arc, which is more that I can say for some of the other truly unmemorable arcs. So bad, it's good (but not really).
Spoilers ahead!
November 7, 2023
Straczyński zrobił już dla Spider-mana całkiem sporo, więc bardzo mnie dziwi, co tu się odwaliło. Bo choć historia jest interesująca i pędzi całkiem wartko, aż do momentu pewnego zwrot fabularnego, który wywraca myślenie o pewnej postaci o 180 stopni. W dodatku rzuca złe światło na partnerkę Parkera, Mary Jane Watson, która wiedziała o czymś BARDZO ważnym, ale postanowiła to sobie przemilczeć. Nie ma to jak zaufanie w związku.
Zaczyna się od trzęsienia ziemi. Na obiadku u cioci May dochodzi do przeczytania listu... od Gwan Stacy. Zmarłej byłej Parkera. Ktoś się bardzo brzydko bawi z bohaterem, a zaraz potem na Pajęczka napada dwójka tajemniczych postaci, które kryją sekret, jaki przewróci życie Petera do góry nogami. Całość wygląda naprawdę dobrze wizualnie. Razi jedynie retcon Gwen, który jest zwyczajnie słaby, żeby nie rzec dosadniej. Jego uzasadnienie jest całkowicie niewiarygodne, a uzasadnienie typu "był słaby, ale miał swoisty magnetyzm" można sobie wsadzić...
Gdy ktoś naprawdę kogoś kocha, tak nie robi pewnych rzeczy, które mogą ukochaną osobę skrzywdzić. Na tym tle finalny motyw tego zbiorku jest nie na miejscu i Straczynski sam siebie zapędził w kozi róg. Ciekaw jestem jak z tego wybrną. Moja znajomość historii Parkera ma jeszcze spore białe plamy, które z pewną systematyką uzupełniam, więc pewnie przede mną sporo niespodzianek. Wolałbym jednak, żeby takowi 'atrakcje' jak tutaj były rzadkością.
Nie jest to zły zbiór, wręcz przeciwnie. Czyta się to nawet z zainteresowanie, tyle że jak się okazuje co kryje się za tajemnicą tego listu, tak pewien niesmak pozostaje.
Zaczyna się od trzęsienia ziemi. Na obiadku u cioci May dochodzi do przeczytania listu... od Gwan Stacy. Zmarłej byłej Parkera. Ktoś się bardzo brzydko bawi z bohaterem, a zaraz potem na Pajęczka napada dwójka tajemniczych postaci, które kryją sekret, jaki przewróci życie Petera do góry nogami. Całość wygląda naprawdę dobrze wizualnie. Razi jedynie retcon Gwen, który jest zwyczajnie słaby, żeby nie rzec dosadniej. Jego uzasadnienie jest całkowicie niewiarygodne, a uzasadnienie typu "był słaby, ale miał swoisty magnetyzm" można sobie wsadzić...
Gdy ktoś naprawdę kogoś kocha, tak nie robi pewnych rzeczy, które mogą ukochaną osobę skrzywdzić. Na tym tle finalny motyw tego zbiorku jest nie na miejscu i Straczynski sam siebie zapędził w kozi róg. Ciekaw jestem jak z tego wybrną. Moja znajomość historii Parkera ma jeszcze spore białe plamy, które z pewną systematyką uzupełniam, więc pewnie przede mną sporo niespodzianek. Wolałbym jednak, żeby takowi 'atrakcje' jak tutaj były rzadkością.
Nie jest to zły zbiór, wręcz przeciwnie. Czyta się to nawet z zainteresowanie, tyle że jak się okazuje co kryje się za tajemnicą tego listu, tak pewien niesmak pozostaje.
August 29, 2023
Le tristement célèbre Sins Past... En une année de lecture de comics, j'ai tellement entendu parler de cet arc (en mal) que c'est avec une curiosité non dissimulée que j'ai commencé ma lecture.
Pour commencer, Mike Deodato Jr, qui prend la relève de John Romita Jr. sur les dessins, parvient à moderniser la partie artistique du titre et colle avec le ton sombre du scénario, mais n'est pas à son meilleur.
Le scénario : JMS voulait que Gwen Stacy et Peter aient eu des jumeaux dont Peter ignorait l'existence (mauvaise idée) mais les éditeurs de Marvel décidèrent que le vrai père serait Norman Osborn, le Bouffon Vert, l'ennemi juré de Spider-Man (très mauvaise idée), justifiant cette relation étudiante/père-d'un-ami par... bah rien, juste ils étaient là quoi... MJ savait la vérité depuis toutes ces années mais n'a jamais rien dit à Peter. Les enfants grandissent plus vite en raison du sang du Bouffon, Sarah ressemblent exactement à sa mère, jusqu'à avoir exactement la même coupe de cheveux et accessoires et la scène miroir à la mort de Gwen où Peter sauve Sarah sur le pont est si forcée que c'en est risible.
Heureusement, j'ai lu ici et là que cette histoire avait été retcon par Nick Spencer dans son run de 2018
Bref, une mauvaise histoire, majoritairement due à des décisions éditoriales visant à faire souffrir Peter et à un JMS qui n'a pas fait trop d'efforts pour que cela fasse sens.
Pour commencer, Mike Deodato Jr, qui prend la relève de John Romita Jr. sur les dessins, parvient à moderniser la partie artistique du titre et colle avec le ton sombre du scénario, mais n'est pas à son meilleur.
Le scénario : JMS voulait que Gwen Stacy et Peter aient eu des jumeaux dont Peter ignorait l'existence (mauvaise idée) mais les éditeurs de Marvel décidèrent que le vrai père serait Norman Osborn, le Bouffon Vert, l'ennemi juré de Spider-Man (très mauvaise idée), justifiant cette relation étudiante/père-d'un-ami par... bah rien, juste ils étaient là quoi... MJ savait la vérité depuis toutes ces années mais n'a jamais rien dit à Peter. Les enfants grandissent plus vite en raison du sang du Bouffon, Sarah ressemblent exactement à sa mère, jusqu'à avoir exactement la même coupe de cheveux et accessoires et la scène miroir à la mort de Gwen où Peter sauve Sarah sur le pont est si forcée que c'en est risible.
Heureusement, j'ai lu ici et là que cette histoire avait été retcon par Nick Spencer dans son run de 2018
Bref, une mauvaise histoire, majoritairement due à des décisions éditoriales visant à faire souffrir Peter et à un JMS qui n'a pas fait trop d'efforts pour que cela fasse sens.
May 15, 2017
Fairly standard fare that makes changes I don't care for.
World: The art is fine, but I really miss Romita Jr's art, this is not that, it's not terrible but it's not that. The world building here I find to be the biggest issue, on a technical perspective, it's fine, it's picking the past and changing it to offer something new, which a lot of comic books do and sometimes do very insanely well (Green Lantern Rebirth). I had issue with this world building because of the subject matter, changing the death of Gwen Stacey and adding this new layer on it does nothing for me except feel like messing with one of the pivotal moments of Gwen and Spidey's life and I don't want and need this.
Story: Taken the context of them being Gwen's kids out of this the story is fairly standard comic book fare. The pacing is solid and the story is cliche and expected. Nothing really of note here except the further development of MJ's journey in theatre, which I enjoyed. The end was as expected and underwhelming.
Characters: Peter and MJ do get solid development this arc, furthering their relationship since being together again. The stuff with Sarah and Gabriel is solid for what it is, very standard, but they are characters that I don't want to exist so I did not really connect with them at all.
Okay story with world building choices I did not care for at all.
Onward to the next book!
World: The art is fine, but I really miss Romita Jr's art, this is not that, it's not terrible but it's not that. The world building here I find to be the biggest issue, on a technical perspective, it's fine, it's picking the past and changing it to offer something new, which a lot of comic books do and sometimes do very insanely well (Green Lantern Rebirth). I had issue with this world building because of the subject matter, changing the death of Gwen Stacey and adding this new layer on it does nothing for me except feel like messing with one of the pivotal moments of Gwen and Spidey's life and I don't want and need this.
Story: Taken the context of them being Gwen's kids out of this the story is fairly standard comic book fare. The pacing is solid and the story is cliche and expected. Nothing really of note here except the further development of MJ's journey in theatre, which I enjoyed. The end was as expected and underwhelming.
Characters: Peter and MJ do get solid development this arc, furthering their relationship since being together again. The stuff with Sarah and Gabriel is solid for what it is, very standard, but they are characters that I don't want to exist so I did not really connect with them at all.
Okay story with world building choices I did not care for at all.
Onward to the next book!
December 29, 2018
Collects Amazing Spider-Man issues #509-514
I've heard that this was a controversial storyline when it originally came out. I can see why that would be true, but I wasn't too bothered by it.
SPOILERS:
I wish that Gwen Stacy hadn't secretly slept with Norman Osborn back when she was dating Peter, but I guess the fact that she had the Green Goblin's twin babies does have some interesting story potential. But now that I think about it, it does ruin some of the legacy of the Gwen Stacy character. She cheated on Peter, and never told him, and then the person she had an affair with ended up killing her. Through ret-con they explain that these babies were part of the reason that Norman purposely sought to kill her back in those classic issues.
Gabriel and Sarah are the names of the twins. At the end of this story, it appears that Sarah will be good and Gabriel will be bad. Gabriel wasn't given a villain name yet, but I think it is going to end up being the Gray Goblin. Meanwhile, since Sarah had to get a blood transfusion, and now has Goblin blood mixed with Spider-Man blood, I think her new hero identity and power-set will combine characteristics from these two characters.
I don't know if these two characters have appeared after this storyline. I'll do some research after I finish this review and find out.
Final rating = 4.5 stars
I've heard that this was a controversial storyline when it originally came out. I can see why that would be true, but I wasn't too bothered by it.
SPOILERS:
I wish that Gwen Stacy hadn't secretly slept with Norman Osborn back when she was dating Peter, but I guess the fact that she had the Green Goblin's twin babies does have some interesting story potential. But now that I think about it, it does ruin some of the legacy of the Gwen Stacy character. She cheated on Peter, and never told him, and then the person she had an affair with ended up killing her. Through ret-con they explain that these babies were part of the reason that Norman purposely sought to kill her back in those classic issues.
Gabriel and Sarah are the names of the twins. At the end of this story, it appears that Sarah will be good and Gabriel will be bad. Gabriel wasn't given a villain name yet, but I think it is going to end up being the Gray Goblin. Meanwhile, since Sarah had to get a blood transfusion, and now has Goblin blood mixed with Spider-Man blood, I think her new hero identity and power-set will combine characteristics from these two characters.
I don't know if these two characters have appeared after this storyline. I'll do some research after I finish this review and find out.
Final rating = 4.5 stars
September 8, 2019
Yikes. One of the iconically worst stories in Spider-Man history.
First, we find out Gwen cheated on Peter with Norman Osborn, got pregnant, bailed to Europe and gave birth there to twins who hyper aged because of the Goblin Serum.
Now those twins are adults, think Peter is their father who killed their mother, and are trying to kill him. At first, if you didn’t know that, you’d just think two masked assailants are torturing Peter and threatening his family, and you’d go “how is he going to solve this one?” So if you don’t know the plot, it has a decent start. Also, I liked Mike Deodato on art more then JRJR, so that was one upside. These are the only reasons I’m giving it above 1 Star.
Aside from that, it taints a character so important to Peter and his history, creates not-so-great characters that I don’t ever want to see again. And I’m guessing no one at Marvel wants to risk touching this story because it hasn’t been retconned. Gwen/Norman’s son Gabriel comes back as American Son during Brand New Day so it’s unfortunately still very canon. Come on Mephisto, why didn’t you retcon that out?
First, we find out Gwen cheated on Peter with Norman Osborn, got pregnant, bailed to Europe and gave birth there to twins who hyper aged because of the Goblin Serum.
Now those twins are adults, think Peter is their father who killed their mother, and are trying to kill him. At first, if you didn’t know that, you’d just think two masked assailants are torturing Peter and threatening his family, and you’d go “how is he going to solve this one?” So if you don’t know the plot, it has a decent start. Also, I liked Mike Deodato on art more then JRJR, so that was one upside. These are the only reasons I’m giving it above 1 Star.
Aside from that, it taints a character so important to Peter and his history, creates not-so-great characters that I don’t ever want to see again. And I’m guessing no one at Marvel wants to risk touching this story because it hasn’t been retconned. Gwen/Norman’s son Gabriel comes back as American Son during Brand New Day so it’s unfortunately still very canon. Come on Mephisto, why didn’t you retcon that out?
This entire review has been hidden because of spoilers.
October 29, 2020
This book was something to take in, massive retconning and all. I can understand why people don't like it but I kinda did. It starts off with Pete receiving a mysterious letter from Gwen and pics of someone tailing MJ and May and that they could target them any time and then two strange villains attack Pete and then through the course of the story we learn they are Gwen and Norman's kid and I will admit that was shocking but kinda makes her death more interesting and personal for Norman. They are out for revenge against Peter as they believe he is their father and killed their mother only to find they have been duped by Norman and wow that came as a shock and things transpire, one is saved by peter and the other finds the goblin cave and kinda becomes the Gray Goblin and then there is confrontations and things happen. And it ends abruptly. There s a lot going on but thats what makes it fun. Its such a personal story for Pete and changes so much he thought and hurts him deeply but despite all that he helps them because thats who he is.
This entire review has been hidden because of spoilers.
April 2, 2021
Qué buen capítulo de la rosa de guadalupe.
Traté de leerlo de la manera más neutral posible y sin fanatismo, incluso el arco "volviendo a casa" me pareció bueno. No me importaba que dejaran mal parada a Gwen Stacy siempre y cuando se planteara algo interesante, pero es que el argumento es una reverenda mamada. Eso de que los hijos de Gwen casualmente y por beneficio del guion se volvieron adultos es una absoluta estupidez. Straczynski seguro pensó: "mmm... ok, creo que esta idea de guion es una porquería ¿Cómo puedo hacer que venda mucho? ¿desechándola y escribiendo algo mejor? nah, mejor voy a plantear una situación que sea mil veces más horrible que la historia que escribí y así el guion no se verá tan malo. Y la gente lo seguirá comprando por puro morbo".
Qué bueno que lo conseguí en oferta con un revendedor.
Traté de leerlo de la manera más neutral posible y sin fanatismo, incluso el arco "volviendo a casa" me pareció bueno. No me importaba que dejaran mal parada a Gwen Stacy siempre y cuando se planteara algo interesante, pero es que el argumento es una reverenda mamada. Eso de que los hijos de Gwen casualmente y por beneficio del guion se volvieron adultos es una absoluta estupidez. Straczynski seguro pensó: "mmm... ok, creo que esta idea de guion es una porquería ¿Cómo puedo hacer que venda mucho? ¿desechándola y escribiendo algo mejor? nah, mejor voy a plantear una situación que sea mil veces más horrible que la historia que escribí y así el guion no se verá tan malo. Y la gente lo seguirá comprando por puro morbo".
Qué bueno que lo conseguí en oferta con un revendedor.
September 10, 2023
Cada vez que algún guionista decide meter mano en la continuidad de un superhéroe está condenado a que hordas de fanáticos se le echen encima gritando ¡sacrilegio! Así que cuando Straczynski decidió tocar el pasado y plantear motivos ocultos en la muerte de Gwen Stacy estaba claro que a mucha gente no le iba a gustar ni un pelo. Pecados del pasado no es de los mejores arcos que Straczynski escribió durante su etapa en Spiderman pero tampoco es tan horrible como muchos la ponen. Es una historia interesante, que sirve para conocer más profundamente a Peter y también para reforzar su relación con Mary Jane. Sí, quizás la imagen de la inocente Gwen que algo en entredicho para ciertos fanáticos de la continuidad pero por favor que estamos en el siglo XXI, ahora se pueden contar cosas que quizás no superaban la censura de los cómic en los ochenta jajaja
November 4, 2021
Okay. Ugh. How to rate this? Honestly, the plot itself is rubbish. Norman and Gwen having twins who age rapidly due to the serum? Come the hell on? In what world would Gwen EVER get it on with Norman Osborn while she’s in love with Peter?
It would’ve been perfectly acceptable to bring the Goblin back through Norman’s seed - an unknown heir come to the surface. But twins with Gwen Stacy due to a moment of passion? Nope.
There are other BS points in the plot, but I don’t have time to hash those out.
However, I was very pleased with seeing Peter/Spider-Man continue to be the virtuous hero. He looks past their origin/conception and loves them regardless. Even with a crap plot, Peter/Spider-Man’s virtue and goodness still wins my heart.
It would’ve been perfectly acceptable to bring the Goblin back through Norman’s seed - an unknown heir come to the surface. But twins with Gwen Stacy due to a moment of passion? Nope.
There are other BS points in the plot, but I don’t have time to hash those out.
However, I was very pleased with seeing Peter/Spider-Man continue to be the virtuous hero. He looks past their origin/conception and loves them regardless. Even with a crap plot, Peter/Spider-Man’s virtue and goodness still wins my heart.
This entire review has been hidden because of spoilers.
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