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  • Thomas Mets discusses his thought and opinions on the current direction of Spider-Man comics in a never ending, continuously updated series of articles.

  • Jesse Brown writes his five part commentary on what he thinks about the rumours of a Venom movie and what would make it good...

The Amazing Spider-Man #1

Posted by Jon Smith 20 June 2015


THE AMAZING SPIDER-MAN #1 (March 1963) 
'SPIDER-MAN' and  
'SPIDER-MAN vs. The Chameleon' 
Written and Edited by Stan Lee 
Pencils and Inks by Steve Ditko 
Cover Art by Steve Ditko


Introduction:
In March of 1963 Marvel delivered on its promise to have Spider-Man inherit the Amazing Fantasy title. This wasn’t a continuation of that series though, rather an inheritance of its legacy as the Amazing moniker was bestowed upon Peter Parker and his alter ego, and thus The Amazing Spider-Man was born! Unusually though, Amazing Spider-Man began its life by printing two mini-epics a month as opposed to the standard one and done. So rather than one full length story of 21-25 pages, two 10-15 page stories are presented:


Plot:
‘SPIDER-MAN’
 We begin by learning that things haven’t got much better for Peter Parker since his uncle’s death; rather they’re a good deal worse. Bills are stacking up, Peter is continuously ostracised in school and Spider-Man can’t earn a buck either. Aunt May is having to pawn off her jewellery to keep the Parker’s afloat and J. Jonah Jameson, Owner, Publisher and Editor-in-Chief of the Daily Bugle, is spearheading a media campaign against Spider-Man remarking: ‘The youth of this nation must learn to respect real heroes – men such as my son, John Jameson, the test pilot! Not selfish freaks such as Spider-Man – a masked menace who refuses to even let us know his true identity!’

This disguised piece of exposition sets the stage for the action of story number one: John Jameson is testing an experimental space craft and naturally things go wrong. A component breaks loose and unless it can be replaced, Jameson Junior will plummet to his doom. Enter Spider-Man! Realising he’s the only person capable of getting the part to Jameson’s craft in time, he interrupts an emergency meeting between the mission commander and Jonah, offering his services to act as a courier for the component. The cigar chomping, moustache sporting, flat-top wearing newspaper man is of course outraged, but the commander obliges.

Spider-Man commandeers a plane, takes it to within jumping distance of the craft and attaches the missing component. John is saved! Satisfied with his work, Peter eagerly awaits to see the next Bugle headline. How will Jonah thank him for saving his son? ‘THIS NEWSPAPER DEMANDS THAT SPIDER-MAN BE ARRESTED AND PROSECUTED!’ begins the Bugle. Jonah Jameson suggests that Spider-Man must have sabotaged the test flight in a plea for positive publicity and even offers a reward for his capture (‘Report him to the nearest F.B.I. office’). The people of New York eat this up and Peter is left dumbfounded: in the public’s eyes, he’s a heel and a flat broke one at that. This leads us to…

'SPIDER-MAN vs. The Chameleon'
Peter figures the only way to make big bucks and pay the bills is to exploit his superhero shtick and gets a bright idea: he’ll join the Fantastic Four (FF)! ‘They’ll probably jump at the chance to have a teenager with super powers working with them! It’ll be a natural!’ With this ‘foolproof’ plan, he webs his way toward the Baxter Building, home of the FF, and breaks in. A defence mechanism triggers and traps Spider-Man. But it can only hold Spidey for so long when, using his super strength, he breaks free.

After a brief scuffle the Four explain they aren’t a business but a non-profit organisation. Spidey is furious and leaves in a hurry. Sue Storm remarks that they could’ve helped him had he simply stuck around while Reed Richards believes they’ll be hearing more from him in the future. Meanwhile, the Chameleon, a master of disguise and all around bad guy, is planning to steal secrets from the U.S. government in order to sell them on to the Soviet Union and/or Eastern Bloc countries. Taking note of Spider-Man’s unpopularity, he figures he’d make the perfect fall-guy for this latest job. In the guise of the wall-crawler, the Chameleon steals the secrets and escapes in a helicopter, all the while, luring the real deal to the scene. Spidey is forced to track down his new nemesis to clear his name.

Preventing the Chameleon from reaching a Soviet sub, he drags the costumed crook back to the long arm of the law. It looks like that’s all she wrote -- but wait! The Chameleon causes a temporary black-out, changes into his final disguise, a police officer, and attempts to escape. As Spider-Man is accused once more he leaps away to vanish and sulk in the night. The Chameleon is revealed in turn – his costume is torn, exposing his villainous identity. As the issue closes, the Fantastic Four ponder if Spider-Man could turn his back on law and order.

Review:
Let’s face it, neither of these stories are knockouts though they do carry importance in developing our narrative and introducing some key players and relationships. First off, the core theme linking these two stories is Peter/Spider-Man’s continued rejection from the super-hero norms. With Steve Ditko’s quirky art and Stan Lee’s fall from grace scripting, Peter Parker was noted for being different from just about any and all superheroes out there. He doesn’t have a fortune to fall back on like the Fantastic Four or a confidant like the Hulk had with Rick Jones.

He has enemies in the super-powered circle (the Chameleon being the first, as seen here) and in the everyday world via the highly opinionated J. Jonah Jameson. This creates a linkage between story one and story two and allows for a good flow; you can feel that these stories take place well within 24 hours or so of each other. You might even draw the same conclusion that John Byrne did in his much loathed Chapter One series and suggest that the orbiting craft John Jameson manned was sabotaged by the Chameleon.

Whatever the case, the world of Spider-Man is already being constructed masterfully by Lee with the inclusion of the FF setting up the development of the Marvel Universe with ties to the 1940s adventures of the Submariner already apparent courtesy of events in the foursome’s own adventures. Of course this creation of a tangible world has flaws, the biggest of which is of course its utterly dated nature. We noted last time that this comes with the territory of comic books, but it is particularly potent in early Marvel Universe tales, including here.

Stan refers to the Chameleon as a ‘commie’ and mentions the ‘space race’ in relation to John Jameson’s one man craft. The repeated mentions of these terms can become deeply grating to a modern day viewer and makes painful reading in early Hulk stories particularly and it is no surprise that the Hulk’s first major recurring super-villain foe is in fact the Chameleon (though these early stories actually suffer from a holding pattern more than anything else). Mercifully, Spider-Man has to deal with these references less and less as the character is relocated within the universe as the first truly street level hero, taking out mob bosses, crooks, robbers and the like. That would begin next issue.
Here however, we are witness to a lame plot from the Chameleon with highly generic motivations and a weak escape plan. No tension is created though the drama is progressing around it. This is almost identical to the John Jameson rescue in story one as the set-piece is designed to be a showcase for Spider-Man’s powers but it falls short of that and is all very easy, which I suppose is kind of the point – it’s all so crisp and clean that Jonah’s doubts over its legitimacy are founded…only the situation isn’t really known on the ground level and so only we (along with Spider-Man) know what has truly happened. It’s dramatic irony, which works on an emotional level, but on a story one causes inconsistencies and issues.

By far this issue’s greatest contribution to the Spider-Man mythos is J. Jonah Jameson. Jolly Jonah comes in like a wrecking ball – the sort of antagonist who can get under your skin but who you can’t do a single thing about. Sure if this was the Chameleon you could wallop him. But Jonah is a civilian and a powerful one at that. In the months and years to come, many a surrogate would take Jameson’s place in the physical battle against Spider-Man to partially resolve this issue, but Jonah’s greatest strength early on is his ability to provoke both Peter and the reader into frustrated rage. The most frustrating thing about Jonah? The fact that he truly believes he’s right.

Jonah’s a much more complex character than he’s often written as. He isn’t all bluster and high blood pressure, rather his character is one rooted in a deeply personal crusade. We are given a glimpse of that with the previously quoted speech concerning his son being a hero. Jonah does think of his son as a real hero, one who embodies the vision of America and is willing to risk his life for his country. In today’s world where we recognise military service as a great sacrifice and often speak of true heroes, this topic is still prevalent.

While we can lambast overpaid sport’s stars or overly pampered actors or over-dramatic musicians, Jonah chooses a masked man, someone who is stealing that spotlight but also maybe showing his son up a tad. I also think there’s real fear in Jonah’s loathing of Spider-Man, a metaphor I’d suggest, for nuclear weapons in a way (another contemporary issue for the 1960s), masked men are necessary for the bad times (World War II with Cap, Bucky etc…) but are not needed in this time of delicate peace. Such characters could very easily set events in motion for disaster to unfold. More on Jonah’s hatred for Spider-Man would come to fore in issue 10.

Next Time:
Another two parter unwittingly gives us the debut of one of Spidey’s greatest foes as The Vulture takes flight for the first time but then Spider-Man must face the terrible threat of…The Tinkerer? Ah but things are not as they seem. Till next time true believers!

Thanks for reading!

Amazing Spider-Man v3 18.1

Posted by bulletproofsponge 15 June 2015

Amazing Spider-Man v3 18.1 review
Spiral: Part 3

As we should all know by now, following the King Pin's absence, and Tombstone's capture, there is a vacuum of super villains trying to fill the void of leadership. Among the many contestants is the Black Cat, who seems to be doing a pretty good job at gaining the respect of the criminal underworld.

Spider-Man and Wraith are busy tearing up most of the bad guy parties in town, though Spidey worries that Wraith has given up on the moral side of the law and is now willing to take the law into her own hands. Wraith, as Captain Watanabe has also secretly been working with Mr Negative as he has been providing her with information on the latest happenings in the underworld.

See Amazing Spider-Man 16.1 and Amazing Spider-Man 17.1 for details on the above.



The story
The issue begins with Hammerhead's gang and Tombstone's gang fighting over who currently runs the Third Precinct. The party is broken up by the Black Cat, who tries to gain the allegiance of the two gangs but fails as both gangs are extremely devoted to their leaders, even if they are in prison.


As the gangs eventually dissipate, Cat is approached by a new Crime Master, and a few thug recruits. The Crime Master offers to his assistance to gain the gangs loyalty by suggesting a jailbreak.



In the meantime, Parker is unable to concentrate at work as his mind is preoccupied on wondering where Wraith currently stands morally.  Later, Spidey swings out to find Watanabe and finds her consorting with Mr Negative. Mr Negative however very quickly disappears and Spider-Man is unable to find him. When approached by Spider-Man about why she was doing with Negative, Captain Watanabe fills Spider-Man in on what has been going on and that thus far, Mr Negative has been a viable source, consistently feeding her good intel. Today, he gave her a heads up on the break out that was about to happen at Ryker's Island.

True enough, over at Ryker's the Black Cat and the Crime Master's men are mid fighting the guards. Spidey and Wraith join the fight to even the odds. Spider-Man is eventually forced to choose if he should pursue the Black Cat, or follow and keep an eye on Wraith as she takes out the rest of the bad guys at the other end of the prison.

Choosing to trust Wraith to do the right thing, Spidey proceeds to fight the Black Cat. Wraith has no problem fighting her bad guys with the help of her fear gas. She later finds out from a nurse at the prison that Judge Howell, the corrupt Judge whom she put in prison is bedridden in the hospital there as he was knifed by an inmate.

Over at the fight between Spidey and Cat, Spider-Man hearing the cops sirens yells at Cat to stop fighting, telling her to stop and walk away as he does not want to see her get shot. He tells her how he believes that she is still a good person and that he still cares about her. Grudgingly the Black Cat agrees to Spider-Man's terms and leaves, warning him however that this does not change anything between them.

Just then, Spidey hears a gun shot.  Second guessing his choice to trust her to do the right thing, he runs toward the sound and finds Wraith with a gun in her hand!

Thoughts

My first thoughts are that this story is moving rather slowly. In the three issues, the biggest plot line is that Wraith, a character who I truly don't care too much for, is going rogue, and Spider-Man is worrying about her stepping too far on the grey line. This story also focuses on the Black Cat, a former ally who was formerly already on the grey line, but is now way into black.

Spider-Man, the always good guys is the only one who sees things Black and White and hopes for Wraith to see things the way he does. He most likely also worries that Wraith might eventually turn out like the Black Cat.

As the story implies, Wraith has probably shot, and possibly killed somebody with then gun she is
holding. In the final scene however, we see an inmate, clearly shot in the shoulder, suggesting that she might have done just that.

One thing I did like about this issue however was that Spider-Man got a chance to have a proper conversation with Black Cat for a brief moment, giving her a chance to scram and make it out alive, much like the old days.

I was pleasantly surprised to see that Felicia accepted Spider-Man's offer, hinting at some redemption of her after all. As for what happens to Wraith, I actually don't mind if she ends up becoming like the Punisher, though I highly doubt it will come to that.

Amazing Fantasy #15

Posted by Jon Smith 13 June 2015

AMAZING FANTASY #15 (August 1962)
'SPIDERMAN'
Written and Edited by Stan Lee
Pencils and Inks by Steve Ditko
Cover Art by Jack Kirby



Introduction:
Welcome to what I hope will be the start of a long running (ominous words) series of reviews on Classic Spider-Man! First a little background on yours truly: I’ve been a Spidey fan since I can remember but I took a hiatus from the character over the past year. Upon returning to the character, I decided I wanted to reconnect with the wall-crawler by returning to the very beginning, the start of the legend, and proceed chronologically. So, I figured why not take you all along for that ride and see what we can (re)discover. With that said, where better to begin our journey than, you’ve guessed it, the origin, with the origin of our favourite web-slinger in Amazing Fantasy #15.

Plot:
Now, let’s pretend you’re a fifteen year old high-school student who is bullied, ridiculed and mocked for your intelligence and your general nerdiness. You’ve got some lug-head with a ridiculous nickname patterned after a serial action hero making fun of you at every turn and none of the girls want to even acknowledge you. There’s probably a bit of a chip on your shoulder, right? Well that’s what Peter Parker is like in 1962. He’s often cast as a mild-mannered and meek high school student but equally so, he’s a brooding, angry young man determined to prove the world wrong – with the exception of his ever loving Aunt May and Uncle Ben of course.

This leads us down a dark and disturbing path as Peter Parker develops superpowers from an experiment gone wrong (you know how this goes: a radioactive spider bites him) and he uses the powers he develops for personal gain becoming a masked man and sensational entertainer: The Amazing Spider-Man!

With this new found sense of power comes pride and arrogance though and he allows a common Burglar to escape. Why’d he do it? “I’m thru being pushed around -- by anyone! From now on I look out for number one -- that means -- ME!” Unfortunately for Peter Parker karma in comics has a funny way of working itself out and dear old Uncle Ben is gunned down (off panel).

Swearing vengeance, Peter, in the guise of Spider-Man, stalks New York’s rooftops until he reaches the abandoned warehouse the cops have cornered the gunman in. Like a shadowy predator, he gets the drop on this crook only to reveal: it’s the same Burglar he let get away! The Burglar is arrested and Peter is devastated. Realising it’s his own fault that his uncle is dead, Peter wonders off into the night as Stan Lee writes these very words: “And a lean, silent figure fades into the gathering darkness, aware at last, that in this world, with great power there must also come -- great responsibility!” Spider-Man is thus, immortal.

Thoughts:
To say this is a classic is like asking if Gwen Stacy bore Norman Osborn’s kids – she did but the details are a little shaky. Let’s deal with the 800 pound pink elephant in the room: it’s dated and this will be a recurring theme of Stan Lee’s Spider-Man run. His stories are very much of their time and are filled with references which in turn date them even more. The Ed Sullivan Show, the use of radiation in an open air auditorium and the notion that professional wrestling is real are all things that clearly locate this story in 1962 not to mention the design of the characters, complete with Peter’s sweater vest/shirt & tie combo which will come to define High School Spidey and every female character having short hair.

Indeed Steve Ditko’s art in general is odd. His characters are pretty garish and ugly, his proportions are bizarre and his action is off the wall crazy. Most characterise it as eccentric and indeed it is unusual, but it works oh so perfectly for this character in this time period. Had Spider-Man been first drawn by Jack Kirby (as was the initial plan – he drew the eternally famous cover) or even the great John Romita Sr. (who developed the prototypical look for Spider-Man for years to come) Spider-Man would’ve been just another hero. He might have been cool, he might still be around today, but Stan Lee would never have achieved what he wanted to without Ditko.

You see, what Ditko brings to the fore with his art is a sense of inner turmoil, an anger manifest in the world. It’s gritty, dark, expressionistic, a look into the angst and grief Peter feels through his tormented teenage years. Sounds pretty heavy, and perhaps it is, but its true. Peter isn’t handsome, he’s a nerd but then no one here is handsome – the women aren’t even pretty, they’re all eyes and teeth and it would only get more extreme from Ditko as his run went on. The point is though, Steve Ditko brings the major factor that makes Spider-Man unique upon first inspection. The look is unconventional and with it we’re intrigued.
 
This intrigue is then piqued when we learn that this isn’t some middle aged guy in spandex clobbering people for love of the country or a well off foursome battling intergalactic baddies and being back in time for dinner. No, this is a teen with real world problems and real world emotions.  To this point no mainstream comics had dealt with anguish, arrogance, loathing etc… Spider-Man did and it immediately made him something to keep an eye on. Superman was perfect, Batman was unflappable, the Fantastic Four were one big happy family, but Spider-Man had money problems, emotional issues and the whole human experience. 


Yes the story is clich├ęd and hackneyed now but in 1962 this is a revolution. Okay the moralistic narrative is as old as time and is played out long before Spidey arrives in comics, but it’s never had as perfect a marriage before or after. It’s an empathetic piece that puts us in Peter’s shoes and we relate. He’s suffered a tragedy and for the rest of his days he must shoulder this. Times will get better for Peter (and worse too) but this origin highlights that very core, fundamental element to the mythos of Spider-Man and it will never change. That’s why when this origin is updated (and it has been oh so many times) the very key fundamentals remain the same: bullied for intelligence, pride comes before the fall, with great power comes great responsibility. Instantly classic.

Next Time:
You may or may not note that the iconic front cover refers to “an important message” for the reader from the editor (Stan) – Amazing Fantasy was ending. It’s surreal, short, Twilight Zone-esc horror stories were finishing up and in its place Spider-Man would receive his own, Amazing, series: The Amazing Spider-Man! And that is also our next port of call. So stay tuned for issue number 1 (they tell me it’s a collector’s item) of that exciting new series!


Thanks for reading!

Amazing Spider-Man: Renew Your Vows # 1

Posted by bulletproofsponge 12 June 2015

While we have not been reviewing any Secret Wars  related issues, Amazing Spider-Man, which features an alternative Spider-Man who never exposed his secret identity and remained married to Mary Jane, will most definitely be reviewed here.

This site began in hope that Peter Parker and Mary Jane would eventually reunite in marriage in the canon comics. While it is pretty evident that we will not be seeing any such thing any time soon, this short alternate story will have to suffice for now.

Amazing Spider-Man: Renew Your Vows # 1 review
Part 1: Why we can't have nice things

The issue begins with a happily married Peter Parker, dealing with real life baby problems while juggling his life as a super hero. Among such problems include the usual finding a balance between spending time with the family, and picking up the slack of other superheroes' bad guys. MJ, being a loving wife and a mom now, nags Peter a little urging him to let the other heroes pick up their own slack, and possibly some of his own. The Parker family also has to deal with their baby daughter Annie blurting out that her father is Spider-Man or something along those lines.


The next day at the Bugle however, we find out why exactly it is that Spider-Man has been busy fighting more and more bad guys. Ben Urich has found out that multiple heroes have been killed and gone missing including Punisher and Daredevil. Trusting Ben Urich's information, Spider-Man makes a trip to the Avengers Mansion to see if they are aware of what is going on. Spidey arrives just in time for a briefing on the disappearances.

As it turns out, all the Avengers have been aware of the heroes' disappearance for a while now. Even more alarming, is the fact that all the X-Men seem to have vanished. In this universe, Spider-Man never joined the Avengers because he was unwilling to expose his secret identity to anyone. As Iron Man points out, Spider-Man in this world is more of a loner, so much so that the rest of the Avengers did not even know he was married with a child now.

Iron Man offers Spider-Man to bring his family and come stay with them at the Avengers Mansion for safety purposes. Being a married man, Spider-Man makes a secure call to MJ to get her opinion. Their call is interrupted however when the doorbell rings over at the apartment. Just then Spidey hears Captain America calling all Avengers and superheroes available to confront who they think is responsible for the disappearances - Augustus Roman. Hawkeye, on the other line requests that he stay back to help consolidate a full scale prison breakout over at Ryker's prison. Cap however instructs Hawkeye to leave and join them as they are about to face an Omega level threat.

When Spidey hears that there has been a prison break at Rykers however, he immediately leaves the Avengers Mansion and heads home. As he suspected, Venom had arrived at his apartment with both his wife and baby in captive.




Spider-Man proceeds to beat the $#!T out of Venom as best he can giving MJ the chance to escape with the baby. Remembering that Venom's two weaknesses were sonic sound and fire, MJ hops on a Fire Truck headed towards a fire.


Not wanting to lose his leverage, Venom leaves the fight to chase after Mary Jane. The fight is soon taken to the burning building where Spider-Man,  realizing that Venom will never stop attacking his family, brings the building down on his foe, thus killing him.

As Peter narrates to himself, that was the day that Spider-Man and the Avengers died. The Avengers died fighting Augustus Roman, now going by the name Regent, who had absorbed all the heroes' powers after killing them.

In this world, now ruled by Regent, Peter ended up learning that family trumps the great power that comes with the great responsibility. In a not so perfect world ruled by Regent, where crime is prevalent, Peter Parker still has his family, and that to him is what is most important.



Thoughts

While we all know that in real life it would truly be impossible to be a superhero with enemies like Spider-Man's, and maintain a family while sticking to all the morals like no killing, yet I was half expecting this story to be somewhat along those lines, after all, it is a comic book, and anything can happen in comics can they not?

I have to say that it was kinda disappointing to see that in order for a story where Spider-Man could live happily married to exist, he would have to sacrifice his morals, give up the mantle and kill and enemy when he didn't need to. I had absolutely no idea what to expect in this story, and while it began perfectly well, the ending was a slight bummer for me.

I respect the fact that Spider-Man sacrificed so much for his family, but I can imagine the guilt of leaving his fellow Avengers behind to fight alone and die against Regent eating at him everyday, if the guilt of killing Eddie Brock is not enough.

Somehow I get the feeling that he will end up sacrificing his life at the end of this story to finally clear his conscience for abandoning the Avengers, in which case, I'd say this would be a bad story.

This was overall however a great story made quite realistic to explain to readers why it was impossible for Spider-Man to be Spider-Man and still remain married with a family. Great job Marketing...














Featured Article: Spider-Man Slot Machine

Posted by bulletproofsponge 01 June 2015


So we were recently approached by a company wanting to promote their slot machine, which features Spider-Man as a way to lure in possible comic fan gamblers?

Anyway, this is not for kids, and while I personally don't gamble, I thought we could help these people promote their business since they bothered to make it Spider-Man relative.

While I'm not sure this really qualifies as a game review, I'm just gonna label it there anyway.


Ever heard of the Spider-Man Slot Machine? 

 Marvel’s friendly neighborhood, web-slinging hero has a slot machine game now! Spidey’s slot title comes with amazing graphics and soundtracks that fans will instantly recognize. It’s quite surprising to see casinos carry a lot of superhero titles now. Perhaps it’s their way of attracting the young adults into playing the games. After all, if casinos would still use the same design on their slot machine today, it wouldn’t probably appeal to the new generation who wants better graphics, sounds, and interaction in their games. While superhero-themed slots today look and feel much like an arcade, it doesn’t change the fact that the outcome of the games is still random. 

Now, let’s take a closer look at Marvelslots’ Spider-Man slot game. The slot's user interface is very easy to understand. On it, players can increase and decrease their bet, press the spin button, and click the info icon to see the payouts, winning line patterns, and bonus features of the game. Speaking of bonus features, this is where the game shines the most. The Spider-Man Slot Game has 5 bonus features namely Ultimate Fight, City Chase, Hot Zone Free Games, Rivaling Free Games, and Radioactive Free Games. Bonus features are unlocked when three Spider-Man icons appear on the first, third, and fifth wheels.

 The Ultimate Fight Feature is pretty self explanatory. Spider-Man and Green Goblin will both slug it out and each time Spidey lands a hit on the enemy, a cash prize will be awarded to the player. If Spider-Man wins at the end of the battle, more cash will be awarded to the player. The City Chase features Spider-Man chasing down Green Goblin across the city. While on the chase, Spider-Man will collect hidden items that reveal cash prizes. Hot Zone Free Games will grant 20 free games to players. Spider-Man will randomly throw webs onto the reels in order to create wild icons for huge payouts.  Rivaling Free Games is a feature where players can win really big. The game starts by awarding players 10 free spins. However, when Spider-Man’s icon appears, the free games counter stops, giving players more free spins as well as an increased multiplier on each win. When Green Goblin's icon appears, the multiplier will be reset and the free games counter will resume spinning.  Lastly, the Radioactive Free Games will grant 15 free games to players.

 During the free spins, spider icons will be randomly scattered across the reels and will appear as wild symbols for all icons. Overall, the Spider-Man Slot Machine is a simple yet enjoyable game that hardcore fans will appreciate. Perhaps the next step for casinos is to inject Spider-Man along with other superheroes not only to slots but to table games as well. Roulette games, for example, are still as plain as ever. They’re not as interesting to look at compared to superhero slot machines, and not as enticing to play if not for the live roulette option that features a hot dealer that players can interact with online. Young adults will probably appreciate online roulette or poker more if superhero designs will be integrated on them even as a cosmetic feature. 



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