Spidey Tackles The Human Torch: Spider-Man As An Anti-Hero

As I said before, Spider-Man used to be my favorite comic characters. As such, I wanted to learn as much as possible about the character, which led me to start reading issues of his original run beginning in the 60’s. What always struck me about these issues was the irreverence; no other heroes from this era had the flippancy that made The Amazing Spider-Man such a great read. Despite being a generally good kid, Peter could be a real douche sometimes.

For this post, I wanted to focus on a comic story that I particularly enjoyed when I first read it. It takes place in The Amazing Spiderman #8 (1964). As you can see, the cover shows that this issue is chock full of stories; Peter boxes his rival Flash Thompson and battles a spiffy robot. Fuck those stories, I don’t care about them. What i’m talking about is the story that dwarfs those two, namely “Spider-Man Tackles The Human Torch” (and we ain’t talking about football). As I mentioned before, this was a common sales tactic, everyone loves a dust-up between two heroes, and Spidey and Torch make excellent candidates. At this point in time, Spider-Man and The Fantastic Four were the DEFINITIVE Marvel titles, meaning that combining the two franchises was a sure fire hit. As such, crossovers abounded, but eventually The Human Torch became Spidey’s particular rival given their teenage-ness and cocky attitudes. What made their rivalry even better was that whereas Spidey was so disliked that he was often considered a criminal, Torch was beloved by everyone. So beloved is he that he has a huge birthday party with loads of ladies and stuff, which leads us to our story.

One of the first things I love about this comic is that there is NO LEAD UP WHATSOEVER. To be fair, the two had a rivalry for awhile, but it was only when they ran into each other. In this issue, Spidey actively harasses him by showing up and fucking up his birthday like it was his job. And maybe bone his girlfriend. Peter’s portrayal here is vastly different than most iterations, which often make him a paragon of morals. While Spidey’s no Punisher, here he shows what made him one of comics’ first anti-heroes. Anyone who’s read Amazing Fantasy #15  knows that Peter has a burning desire for respect.

His peers mock him and women avert their eyes in his presence, which manages to carry over into his superhero career as well. As such, he’s sometimes portrayed as starved for recognition. Here we see that he’s so envious that he’d do something as petty as ruining a birthday party just because he can’t have one.

The Amazing Spider-Man #21 (1965)

The Torch isn’t just more popular than Spidey, he’s also the establishment hero that he could never be. The Fantastic Four, as Marvel’s “first family”, defined being a superhero in the marvel universe, so Torch was by extension a major hero. He had all of the benefits Golden Age superheroes were supposed to have; money, women, and public admiration. Ironically, The Torch’s notable lack of a traditional secret identity also makes him more of a superhero to the people, since the public harbors no distrust against him in the same way as Spidey, who’s masked appearance is consistently said to be “creepy” in universe.

I’m pretty sure Torch gave that girl cancer

Upon seeing  Torch’s fiery display, Spidey calls the kid a “phony” and views his “heroics” as more pompous than purposeful. Given that his powers involve wreathing himself in flame, that shouldn’t come as a surprise. This of course comes off as a bit hypocritical coming from SPIDERMAN of all people, who responds by making an entire bat out of web and throwing it at the partygoers. Having got the man’s attention, he decides to swag in assholishly and talk some good shit. Unsurprisingly, no one reacts with “HOLY SHIT IT’S SPIDERMAN!!!”, and instead act like he’s the paste eating kid in grade school. Mind you, this is still very recent into The Amazing Spider-Man‘s run, so everyone instinctively reacts with hatred towards the poor lad. This went back and forth throughout the series, since seemingly everyone on in Peter’s high school seemed to like Spidey just fine. Since the kids in this particular comic are Torch’s friends, one can assume they are as much “establishment” as he is, so they wouldn’t share other teens’ sentiments. This dynamic makes Pete more sympathetic in the story, since he does deserve some respect for his heroism, even if he did just pull a prank.

Spidey takes their rejection in stride, causing Torch to create some lame-ass comebacks, including calling Spidey a “rusty crutch”. I often wonder if people in the 60’s really spoke this way or was Stan Lee just fucking around. Spidey isn’t amused by this either, and continues to mock the lad. Once again, we see a nice distinction between the two: Torch is a “square” who uses crappy jokes as opposed to the hip Spidey, who knows how to smack talk with the best. Granted, much of this is due to the fact that this is a Spider-Man story and not a Fantastic Four one, but generally Torch isn’t that funny anyway. Despite the fact that Torch has more social approval, he’s not nearly as entertaining as the irreverent Spidey, who we as the audience like more in this match up. Torch gets so angry at Spidey that they get into an actual fight outside of the building.

Spidey almost gives up the fight, until Mr. Fantastic, rather innocently, offers a hand to help, which Spidey takes offense to and attacks him as well. Obviously the rest of the Four intervene as well. This isn’t the first time a fight has broken out among these characters; the first issue of his Spidey’s series has him fighting the Four for the first time.

For some reason, in both issues he takes offense to Reed and Sue’s offers of help, as if the very idea that he needs it is insulting. This streak of independence  is probably why Spider-Man was never integrated that much into the Avengers franchise; so much of his character is defined by him struggling alone, which joining a super-group would subvert.

His rampage against the Four is stopped rather unexpectedly by the Invisible Woman, who flirts heavily with him because she is a woman and that’s what Stan Lee thinks women do. He reciprocates by giving her a web-heart and making fun of the team once again. Our hero! This issue is similar to a much more recent issue of Deadpool, where the titular character picked a fight with Wolverine for the hell of it.

Deadpool #94

Obviously, while I wouldn’t compare Wolverine THAT MUCH to the Human Torch, one thing they do have in common in their respective issues is that they are Marvel mainstays being accosted by cocky upstarts. Wolverine is a hero known worldwide, respected by pretty much any hero worth a damn. Deadpool is an insane idiot who’s made fun of in this issue by fucking SHADOWCAT, a barely relevant X-Man. Both of these issues illustrate how these characters fit into the larger Marvel universe and what makes them anti-heroes.

Whereas the term “anti-hero” has become synonymous with excessive guns and gruffness (i.e. Cable), anti-heroes in the classical literary sense are those who are impotent and ineffectual. Spidey and Deadpool are the guys who are at the low end of the totem pole; the George Costanzas of superheroes. Just as George Costanza is the man nobody wants to admit they are, Spidey is the hero no one would like to think they would be. Sure, he still performs all the duties expected of him as a cape, but he still has the same problems you and I have. On top of that, he doesn’t always deal with them in the most mature manner. For example, whereas most heroes are dead-set on their lifestyle, Spidey contemplates quitting anytime a personal complication arises. As seen in his battle with the Torch, his seemingly carefree demeanor belies his tempestuous mind, which could be prone to rash decisions. In one of the series’ most famous issues, he quits being Spider-Man all together due to a verbal berating by J. Jonah Jameson on how he should get his life together.

The Amazing Spider-Man #50 (1967)

Whereas for most people, “getting your life together” could mean starting a 401k, for Spidey this means…

Unsurprisingly, quitting has been a recurring event in the franchise, even extending to the film Spider-Man 2 , where he quits due to losing Mary Jane to another man. Speaking of women (and this may come as a surprise for modern fans), Peter had SEVERAL girlfriends during his series, including a co-worker at the Daily Bugle (Betty Brant), a high school cheerleader (Liz Allan), an Ivy League former cheerleader(Gwen Stacy), a hot cat-burglar (Black Cat),another Ivy Leaguer (Debra Whitman) and his one-time roommate (Carlie Cooper). He fucked up all of these relationships, just because he’s Spider-Man. Compare this to Superman, the Flashes, and pretty much any other hero who manages to maintain a relationship no matter what. Peter, not so much.

He’s got haters AND his bitches don’t love him

What’s so great about “Spider-Man Tackles The Human Torch” is that it manages to establish just what isn’t heroic about Peter quite succinctly. The people don’t support him, he doesn’t get the girl, other heroes think of him as at best inconsequential and at worst, a pest. And what’s also great is that he acknowledges it. Acknowledgement can sometimes mean a snappy comeback to his detractors, and sometimes it can mean unwarranted aggression (as we see when he attacks Mr. Fantastic). Attributes like this is what made Spider-Man so resonant in the 60’s.

In 1965 Esquire had a college student poll that revealed that student radicals ranked Spider-Man and the Hulk alongside the likes of Bob Dylan and Che Guevara as their favorite revolutionary icons. What made such Spidey such a counter-culture hero was because his readership had the same frustrations he had. He was akin to a James Dean character, trying to fight against the ever-present enemy of society. He neither is accepted by others or accepts others himself, leading him to conflict even with those who don’t wish him harm. Teens had been dealing with sexual frustration and resentment towards authority for years, but this was one of the first superhero franchises that acknowledged it. Spidey’s “tackling” of the Human Torch (and later on the Fantastic Four)represented a confrontation with the “establishment”. Superheroes were meant to be wish fulfillment figures, but that also meant they were often aloof and unrelatable. Despite being young himself, the Human Torch and his allies are very much the detached authority figures that look down upon someone like Spidey. While the Four aren’t “villains” per se, they are the type of heroes “new age” characters like Spider-Man had to differentiate themselves from in order to connect with the sentiments of the audience. As such, conflicts like this helped to illustrate just why Spider-Man has continued to have an impact on several generations of youth.

For a more in-depth look at Spidey’s origin story:

Throwback Recap: Peter Parker from Amazing Fantasy to Amazing Spider-Man

For more posts on Marvel heroes:

Iron Man: Real American Hero

Iron Man 3 Review

Thor: The Dark World Review

The Lois Lane Effect

Fast And The Furious 6 Review

DO YOU LOVE FAST CARS!?!?! DO YOU LOVE CRAZY ASS STREET RACING!?!?! DO YOU LOVE HARDCORE GANGBANGERS AND DRIFTING AND STICK SHIFTS!?!!?!? Well then this film isn’t for you. Granted, this pitch could be presumed to have been the hook for the first film in the franchise, which featured Paul Walker infiltrating a crew of street racers who moonlight as thieves. Given the success of the film, a sequel was inevitable. And by “a” sequel, I mean infinite sequels. Just how many films can you make about illegal street racers? Not many, but you could manage it if they parlayed their driving skills into the most convenient criminal career of all time. Knowing how to use NOS has allowed them to take down drug dealers and complete a million dollar heist. Sequel escalation being what it is, by the time we arrive at Fast 6 , the only thing left for the protagonists to do is become the Mission: Impossible team. No seriously, the plot of the film is DDS Agent Hobbs (The Rock, who’s incorrectly billed as the fictional “Dwayne Johnson”) offers all of the protagonists full pardons if they can take down an international mercenary and his gang,who were responsible for the theft of a BILLION dollar macguffin. Because lord knows that nobody in the American government could handle a whip like Tyrese.

The plot device of recruiting blue collar guys to do high profile missions is oddly reminiscent of Armageddon, where NASA needs to take out an asteroid “the size of Texas” with the aid of miners, since apparently astronauts are pussies who could never grasp the specifics of making holes in things.  I can see the appeal of these plots: doesn’t every Joe Sixpack want to think he could save the world if given the chance? In Fast 6, Dominic Toretto (Vin Diesel), vaguely-ethnic uneducated gang banger that he is, can beat up martial artists, survive leaping out of cars, and outsmart criminal masterminds. Talk about starting from the bottom.

As expected, there’s not much to comment on character-wise. As a neophyte to the franchise, I can’t determine how consistent the characters’ portrayals are compared to previous films, but I can call em how I see em:

Vin Diesel is gruff, basically Riddick with a hemi.

Paul Walker is surprisingly demoted to extra, having a pointless subplot and barely any action scenes. He’s the Eddie Winslow of Fast 6; a former main character who becomes nothing more than some dude for Vin Diesel’s Steve Urkel to talk to. I’m surprised they didn’t pull an Iron Man and just replace him with a cheaper actor (yea, I just dissed Don Cheadle,what of it?).

Tyrese Gibson channels his inner Bojangles and becomes the (insert racial epithet) that everyone laughs at. This makes sense given that in 2 Fast 2 Furious, he was the minority replacement for Vin Diesel. Having both of them in the same film forces the character to differentiate himself, if not necessarily in the most PC way.

Ludacris (incorrectly billed as “Chris Bridges”), having had the role of token black guy stolen from him by Tyrese, is officially the tech guy, being inexplicably able to jam cell phones and power up a grappling hook with NOS. Whatever.

The Asian guy from Tokyo Drift is in the film too and i don’t care. Seriously though, he doesn’t do a damn thing, he doesn’t even know martial arts, making his existence incomprehensible to me.

There’s also a chick named Giselle I think and she dates Han I think and I still don’t care.

Michelle Rodriguez as Letty continues to be the least hottest Latina in Hollywood, narrowly beating out the woman who played George Lopez’s mom. And no, she’s not a good enough actress to avoid being judged for her looks so be quiet feminists.

Gina Carano manages to make up for Rodriguez’s lack of hotness as a busty DDS Agent working with Hobbs.

And speaking of Hobbs, THE ROCK IS IN THIS FILM! I never saw Fast Five, so the idea of the Rock being in the series still makes me mildly excited. He spends the entire film being commented upon for being as big as a house, which is pretty understandable since he’s as big as a house. I don’t think he can even put his arms down anymore.

The bad guy in this film is played by Luke Evans who…is a bad guy. Honestly, having watched Oblivion and Iron Man 3 recently, i’m kind of burnt out on generic villains and his character, Owen Shaw, is not even worth commenting upon. I really think that a casting agent heard his British accent and said “that’s all I needed”. And that’s the whole gang.

The most obvious reaction most people will have to this film is, “How the fuck did we get here?”, and i can say that I know that feel. I’ll be honest, the only film in the series i saw before this was 2 Fast 2 Furious (speaking of which, i’m disappointed in the sixth installments lazy name; I guess a sixth sequel doesn’t lend itself to title puns).  As such, I don’t care about the progression of the franchise personally from its humble beginnings to its current state. As a movie goer though, i have to say that this film is over the top by any standards. The guys at Spill.com aptly deemed it “The Avengers with cars” due to the sheer balls out action that occurs. One of the coolest scenes in the film involves the bad guy fleeing his base with a souped up F1 racer with a scoop in the front to send opposing cars flying.

At one point, the Rock actually jumps out of a moving car onto his car in order to stop the guy. Shit like this will probably be the biggest point of contention for most moviegoers, since the action is almost jarringly ridiculous. Earlier in the film, The Rock destroys an interrogation room beating some guy up, but no one even calls him out on it. Vin Diesel manages to launch himself out of a crashing car in order to rescue someone in midair, his fall broken by a car windshield. Anything resembling real life has completely left the franchise.

Yes, that is a tank

This is exacerbated by heavy use of CG during the film’s climax, which arguably would be too much by MICHAEL BAY standards. The tonal progression of the series is similar to Pirates of the Carribean which has had similar criticisms of  “jumping the shark”. The first film focused on choreographed swordplay and some mild mystical elements. By the last film, Jack Sparrow’s fighting a squid man on the mast of a ghost ship caught in a whirlpool caused by a Rastafarian sea goddess while holding said squid man’s still-beating heart. I’m surprised Sebastian the Crab doesn’t appear on the ship and sing a rousing sea-ditty.

Like Pirates, Fast 6 elicits the same reaction from me: fair enough. At the risk of sounding common, I actually liked that the Pirates series kept upping the ante; that’s honestly the only thing left to do in sequels. The film’s weren’t based on a series of novels, they originated from a children’s ride at Disney World. Calm the fuck down, critics. There was no story beyond “Jack Sparrow fights ghost pirates”. Likewise, The Fast and The Furious was based on a magazine article on illegal street racing. The fact that screenwriters managed to stretch that out as long as they had is remarkable in the first place. Film sequels often fall into a narrative form of the scientific ‘Anthropic Principle’, specifically that “For any given story, there exists basic elements that are required for the story itself to happen, or there would be no story. In other words, there is no “resolution” without “conflict“. (definition courtesy of tv tropes). Most filmmakers don’t intend for sequels to be made, so rarely do films not resolve their conflicts. Therefore the very existence of a sequel is predicated on willing suspension of disbelief. How could Letty in Fast 6 become an amnesiac due to a point blank explosion yet still retain all of her driving skills? Because Michelle Rodriguez needed the bail money, that’s fucking why!

And makeup

Final Verdict

The world demands sequels to be made, and outrageous plots are often the only things that can make them happen. The Fast and the Furious series will only continue to become more and more ridiculous, and god bless it as far as i’m concerned. While i don’t particularly care for the series, I respect its tenacity. With this in mind, go see Fast 6  if you want to sea a triumphantly ridiculous action film. If that doesn’t sound like your thing, sit at home and knit (because you’re a woman).

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