[.ca] Peter Parker, Spider-Man: Return of the Green Goblin (ISBN 0785110194)

cheap attempt to cash in on the movie:
In an attempt to gain readers that liked the movie, Marvel made sure that the Green Goblin would be featured in this story arc, which began in the pages of Peter Parker in May 2002, the same month as the movie's release. The whole thing feels like it was really forced upon them. The story seems to be a major turning point in the relationship of Peter and Norman, but then it doesn't go anywhere. The promise of this being a truly climactic confrontation is never delivered upon. In the end, it feels like there wasn't really a story to tell here, just an attempt to include the villain that audiences would want to read about, after seeing him in the movie. This isn't the worst Spider-Man material in recent years. Later issues of Peter Parker would deliver that. It's just not up to the high standards of fun storytelling that Jenkins and Ramos had established in the earlier part of their run on the book.

Norman Osborn versus Peter Parker in a battle of wills:
In issue #39 of "The Amazing Spider-Man" the web-head's arch enemy the Green Goblin learned Spider-Man's secret identity and captured Peter Parker. At the end of that stunning issue, the first drawn by John Romita, Sr., he took over as the artist for the comic book from Steve Ditko, the Goblin unmasked himself and was revealed to be Norman Osborn. Clearly this was the greatest "to be continued" moment in the history of the character, and when Spider-Man defeated the Goblin and Norman Osborn conveniently ended up with amnesia, it was only delaying the inevitable. However, it was not until the Green Goblin killed Gwen Stacy that the secret of Spider-Man's true identity would die with Norman Osborn. Every Green Goblin encounter after this one has only been a shadow of the original, although the twin deaths of Gwen and Norman Osborn was rather significant. Peter Parker carries the scars of Gwen's death to this day, but with the death of the Green Goblin the "Spider-Man" comic had killed off its prime villain, something that as a general rule comic books try to avoid doing. "Return of the Goblin" presents the four-part story "A Death in the Family" from "Peter Parker: Spider-Man" issues #44-47 from 2002. Yes, on one level this was certainly a marketing ploy, designed to take advantage of the summer blockbuster "Spider-Man" film last summer. But there are also some strong echoes from the classic Green Goblin stories of the past and even if you have not been keeping up to date on either Spider-Man comic book during the Volume 2 era as long as you know the key elements of the Spider-Man mythos you can appreciate this story. Written by Paul Jenkins with the distinctive pencils of Humberto Ramos inked by Wayne Faucher, the story begins with Norman Osborn expressing some harsh words at the grave of his son Harry and then going off to confront Spider-Man during a driving rainstorm. The initial battle is inconclusive: Spider-Man refuses to play Osborn's game, but he insists that he will get the web head's undivided attention. The Goblin does this by going on television and claiming it was Spider-Man who was responsible for the death of Gwen Stacy. However, that lie is only the first of several buttons Osborn starts pushing on Peter. Osborn's hirelings grab Flash Thompson, get him drunk, and put him behind the wheel of a tanker truck that is driven right through Peter Parker's classroom at school. Flash survives, but as sustained permanent and irreversible brain damage. Spider-Man has gotten the message loud and clear. Clearly the importance of this story line is that it provides a fresh new tragedy for Peter Parker to feel guilty about. However Jenkins is also trying to make this more a contest between Norman Osborn and Peter Parker, which means it is more of a psychological duel for most of the story. But the end game still begins once the Goblin has pushed Spider-Man over the line. The ending might strike you as being a bit unbelievable, but then we have endured almost four decades of the Green Goblin remembering, forgetting, re-remembering, re-forgetting, etc., so at least Jenkins gets point for being creative and coming up with something different. Given that he was redefining the contest as more of a psychological battle of wills, you have to admit there is a logic to the outcome. The art by Ramos is perfect for the fights between Spider-Man and the Green Goblin, especially the initial contest in the downpour. Actually, I really like the way Ramos draws the Goblin, who has never looked more like a psychotic killer. Not a great story, but certainly an intriguing one and a better battle between the two arch enemies than the "Spider-Man" flick.

Five Bucks & a Pizza Says You'll Love This.:
The conflict between Spider-Man and the Green Goblin has been an integral part of the Spider-Man mythos since close to the beginning. And this story is the best example of it since "The Night Gwen Stacy Died". Norman Osborn again takes on the mask of the Green Goblin and decides to draw Spider-Man in a conflict that if Norman has his way will only end in death. But Norman's true target is not who it appears to be until the very end, and shows just how deranged he truly is. But Paul Jenkins also establishes a deeper, more psychological conflict between the two men. Really, at the very heart, they are just two grown men who dress up in strange, garish costumes and work out their own psychosis on each other by beating each other up, and drawing others into it. As great as Dr. Octopus, Venom, Carnage and the Hobgoblin are, none will ever have that twisted connection to Spider-Man and will ever be able to get under his skin like Norman Osborn has. If you're looking for a great, psychological, emotional drama, then I suggest you pick this up. Some say they were disappointed by the ending, but really, if you think about it, it was the only way this story could end.

Don't listen to the guys who downplay this book.:
Look, this is really quite simple. If you want an entertaining romp through the Spider-Man/Green Goblin history, read the Death of Gwen Stacy, then read Spider-Man: Blue, and finish your reading off with this book. When I was a kid, Spider-Man was always my favorite super hero because he had the coolest powers, that and he was human... Not human like Batman, but he was a real guy with real problems. That's the beauty of the character. And now that I'm older, what keeps me coming back are the ways in which the good writers tell a story of a real person, who just happens to be a hero... That's why this book is good... Forget about the "Spider-Man continuum" that "purists" will blab about. If comics were meant to be that pure, there wouldn't be half a dozen different Spider-Man serials running at the same time. These are stories about good and bad, and this happens to be a very entertaining one. And before I forget, Ramos does an excellent job as usual. Don't listen to the other readers who downplay this book, give it a chance, it's worth every penny.

A must-have for any Spidey fan:
Let me set one thing straight, Norman Osborn was brought back from the dead 7 or 8 years ago. And that has nothing to do with this story. Over the years there have been a lot of Spider-man vs. Green Goblin fights, but this one was original in itself. The story starts off with Norman drugging Flash Tomphson (long time bully, but in recent years a friend to Peter), who works for him, and putting him in a truck which he directs toward the school were Peter works. The ensuing accident puts Flash in a coma, and Peter decides its the last straw Jenkins is a great writer. He's funny and original. Throw in Huberto Ramos' quirky and completely different art style, and you have one great TPB. This one is definitely worth picking up.