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The Amazing Spider-Man #1 (1963)

spider-manIn the first issue of The Amazing Spider-Man comic, Peter Parker realizes he needs to get a job now that Uncle Ben and his income is gone. He tries doing performances as Spider-Man, getting part-time jobs, and joining the Fantastic Four, but nothing works — and no thanks to J. Jonah Jameson’s unabashed slander of the webbed hero. Even after Spider-Man saves Jameson’s astronaut son from crashing his rocket, Jameson publishes that it was all Spider-Man’s fault in the first place.

Spider-Man comes up against his first villain, Chameleon, who is a master at disguising himself as other people and decides to use Spider-Man’s growing infamy to steal missile documents and blame it on Spider-Man. He manages to expose Chameleon, but the general public still sees Spider-Man as a public menace. The issue ends with the Fantastic Four worrying that Peter might use his powers for evil and Peter bemoaning the hatred Spider-Man still gets from the public despite all the good he does.

As we’ve discussed in class, these comics give a very human element to the heroes, and Spider-Man is no different. The first half of the issue is almost exclusively concerns Peter Parker trying to find ways to raise money so that he and Aunt May can get by. The above panel exemplifies Peter’s human fear and concern for his family, and the rest of the issue focuses on him trying to solve that issue. His number one priority is not heroism but protecting his family, a theme that most readers can relate to.

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When I read the description for this comic at the Billy Ireland Cartoon Museum, I immediately loved it. Next to this comic, it states:

It Ain’t Me Babe Comix was the first comics anthology to be produced entirely by women, challenging the standards of the male-dominated industry and the misogyny that ran through the underground movement.

Of course, the misogyny is still there. Women in refrigerators is a trope still all too common, and it applies to the queer community, as well. While this comic is from 1970 and a wave of feminism that I don’t agree with, I appreciate seeing the start of women banding together and working on comics. Boatloads of misogyny still exist in modern graphic novels, but seeing the start of the women’s movement in that medium is refreshing and hopeful. While we’ve made improvements on the depictions of women in comics, we still have a long way to go, but it’s good to know that there were women upset about this long ago, as well. It creates a strange sense of community.

As a woman, feminist, and queer person, I love seeing media  — of any kind — that challenges the social norms. Phyla-Vell and Moondragon are comic godsends, Orange is the New Black showed queer women in ways I had literally never seen before (and not for lack of trying), Malinda Lo writes f/f fantasy, Ellie of The Last of Us is a badass young girl in an apocalypse who still finds love with her best friend. Depictions of queer women as three-dimensional characters, in all media, are what I live for. I am a writer, and I’ve made a personal pledge to include queer protagonists in everything I write, as well as depictions of complicated, multi-faceted women. While novel-writing is where my heart is, I love the idea of writing for video games, as well, and so It Ain’t Me Babe resonates with me on a very personal level.