Why Peter Parker is the better nerd

I. Coleman has a point, comparing the hero of Ernest Cline’s Ready Player One with Peter Parker:

If you want a geek hero, look at Peter Parker. He likes Star Wars and obsesses over superheroes. He’s a nerd. He gets bullied for being a nerd. But his fondness for LEGOs isn’t what makes him a hero – that would be his heroism. His goodness. The fact that he’ll go out of his way to help an old lady cross the street. He knows what it’s like to get picked on, and instead of picking on others in turn, he chooses to stand up for the little guy no matter how hard it is. Peter Parker is what geek culture needs to strive to be every day. When we write an article or a videogame or a book, we should think “Would Peter Parker write this? Would he agree with what we’re saying?”

And conversely, I propose we should also ask “would Wade Watts like this?” And if the answer is yes, you should delete your draft, burn your script, drown the thing in white-out and start over. And it’s this test, more than anything else, that Ready Player One so catastrophically fails. Yes, it’s boring, poorly-written, and literally contains a ten-page list of titles of things the author likes. But it also fails the basic test of humanity, creating a character and a world so repugnant that I feel more than justified in saying it represents the absolute worst of nerd culture.

Peter Parker: science nerd

But there’s another way in which Peter Parker and Wade Watts differ, one that’s just as important as the one Coleman points out: what kind of nerd they are. It’s this difference that at least partially explains their moral differences as well. As we all know, Peter Parker got bitten by a radioactive spider that turned him into Spider-Man, but the reason he was bitten by that spider was because he went to a scientific exhibition, because Peter Parker was the kind of nerd who was really into science, who was studying to become a scientist. That’s why he was bullied, at a time when being a brainiac was not a good thing. There’s more than a hint of classism in the bullying, what with his principal tormentor being the popular, rich jock who could afford to tool around in a sports car, while Parker wore handme down clothes and thick nerd glasses. And that’s why he was bullied: he looked poor, he was a brainiac, he didn’t share the interests of the cool people nor felt the need to imitate them.

Wade Watts on the other hand is the worst possible sort of nerd, the one that thinks his (excessive) love of Star Wars and knowledge of eighties nerd trivia makes him special, gets him persecuted. He doesn’t create, he just consumes, never does anything original. He has a persecution complex but nobody’s persecuting him. His type is widespread among fandom, usually white men who’ve never had much hardship in their lives, but who’ve convinced themselves that a light spot of bullying during high school means the entire world is against them because of their brilliance. These are usually the same people who want to exclude anybody not like them — LGBT, women, PoC — from fandom, that only they are true fans though they never contribute anything. That’s the kind of fan who eat up flattering trash like Ready Player One.

Fifty Essentials in Fifty Days 12: Essential Spider-Man vol 3

cover of Essential Spider-Man Vol. 3


Essential Spider-Man Vol. 3
Stan Lee, John Romita and friends
Reprints: Amazing Spider-Man #44-68 (January 1967 – January 1969)
Get this for: Lee & Romita on Spider-Man– four stars

After finishing off the Lee-Ditko run on Amazing Spider-Man with Essential Spider-Man Vol 2 yesterday, I thought I’d give the Romita run a try as well with Essential Spider-Man Vol 3, containing exactly two years of continuity. This is the period in which the foundations for the Spider-Man I grew up with were laid. There’s more soap opera, it’s taken more serious and some of the humour of the Ditko issues has gone. Where earlier Spidey’s troubles rarely lasted much beyond one issue, from now on he would barely be able to keep going with all the issues and hangups put on him. You can see the first glimmers of Bronze Age Marvel here, with its emphasis on shared continuity, large supporting casts and long running subplots. It all feels familiar to me in a way the Ditko issues did not.

On the art front, while it is clear to see the Ditko influences in Romita’s work here, his work is much more conventionally pretty and as he had cut his teeth on romance comics, his women are drop dead gorgeous in a way Ditko never could match. His male characters too are much more handsome than they were before. While stylistically I prefer Ditko over Romita — his fights were never as exciting as Ditko’s — his clear, clean artwork did provide Spider-Man with his definitive look, a reference point for every artist that came after him on Spider-Man.

What struck me reading this volume was that some of the momentum was gone; things seem more static, though Petey does finally move out from Aunt May’s house into a shared apartment with Harry Osborn and moves to college. There are fewer new villains (the Shocker and Kingpin being the exception) and more old ones making re-appearances, like Doctor Octopus, Mysterio and the Vulture. The stories aren’t bad by any means, but none have the impact of e.g. the Master Planner arc from the previous volume.

Spidey gets a lot more hip and happening too as Romita comes along, getting so sixties it’s almost embarassing. Lots of fun though. One big but subtle improvement castwise is the addition of Joe and Randy Robertson to the cast, the first regular Black supporting characters in comics. Or at least the first ones not to be embarassing racial stereotypes at least. No fuzz is made about them being Black either: Joe is introduced as the Bugle‘s new city editor, Randy as a fellow student of Peter’s at E.S.U.

The Lee – Romita Spider-Man is very different from the Ditko – Lee version, but almost as good. Reading these stories is not as exciting as reading the Ditko ones, but they do feel mighty comfortable, like taking in a nice hot bath. That’s not bad either.

Fifty Essentials in Fifty Days 10: Essential Spider-Man Vol. 1

cover of Essential Spider-Man Vol. 1


Essential Spider-Man Vol. 1
Stan Lee, Steve Ditko and friends
Reprints: Amazing Fantasy #15, Amazing Spider-Man #1-20, Annual 1 (August 1962 – january 1965)
Get this for: Duh Lee & Ditko on Spider-Man– five stars

The problem with talking about the stories in Essential Spider-Man Vol. 1 is the same as with talking about the first Fantastic Four volume. Many of the stories have been reprinted, recapped, retold so often that you think you know them, until you read them all cover to cover in one sitting again and discover that actually, Lee and Ditko were actually quite funny.

Not to take away from the superheroics of course, as so many classic Spidey villains are introduced here — The Vulture, Chameleon, Doctor Octopus, Electro, Mysterio, Sandman, The Lizard, Scorpion and of course Green Goblin — but the best thing in these stories is the soap opera that takes place around it. It’s all much, much less serious than it would be later on. Lee and Ditko delight in making Peter Parker suffer for being Spider-Man; if it isn’t his aunt May’s health and money problems it’s the kids at school thinking him a coward or Jolly Jonah Jameson’s latest editorial turnign the city against him again. But they don’t pile on the problems like later writers would do and always balance it with a sense of humour. Peter is still able to laugh at himself and his troubles. Some of the scrapes Spidey finds himself in are clearly played for laughs too, as with his teamups/ongoing rivalry with the Human Torch.


Last page of Amazing Spider-Man 07

Ditko’s art is a great help with this: fluid and expressive, especially with faces. It’s his composition and exegerrated, elongated figures that tend to get the attention, but the way Ditko can show subtle emotions in his faces here is just as impressive. This is something that’s sadly been lost with Ditko over the years as he’s withdrawn in his Randroid fantasies and his art became somewhat of a parody of himself. But here it’s alive and well and never as developed elsewhere. Compare e.g. with the Dr Strange stories Ditko worked on at the same time, where soap opera and characterisation where much less important. The page on the right is the last page of Amazing Spider-Man #7, a nice example of how Ditko can portray both subtle and broad emotion on the same page naturally. It reads even better in black and white, where you’re not distracted by the colours.

On the whole I’ve found that Ditko is an artist whose work, even though meant for colour publication, benefits a lot from black and white representation, much more so than some artists (as do Gil Kane and Jack Kirby). Some artists depend on colour, work with it to give coherence to their drawings, while with Ditko his style is much more clear if left uncoloured.

I should not forget Ditko’s feel for action either. His fight scenes are great, with constant movement, figures jumping around, goons flying everywhere, punches thrown, Spidey ducking and weaving through four, five villains, caught mid-way through a jump, with the action always towards the reader. He creates a feeling of energy and movement few other artists can match while never using layout trickery or even much sound effects (something rare in Silver Age Marvel anyway). Lee meanwhile, of course plasters his dialogue all over this action, but does so without obscuring it or stating the obvious. It’s completely unnatural, but the way Lee brings it, it feels like the most normal thing in the world to comment out loud in the middle of a fight on what you’re trying to do and what your opponent is doing. If you want one example, go find Spider-Man #19 and Spidey’s and the Torch’s fight with Sandman and the Enforcers.

It is all great, great stuff and anybody should take the time to at least read through these — and the eighteen more Lee and Ditko would do together.