Spider-Man (2002) Comic Influences

[Silver Nemesis]

2017 marks the 15th anniversary of Sam Raimi's Spider-Man (2002), as well as the 10th anniversary of the trilogy's conclusion. And with Spider-Man: Homecoming opening in theatres this weekend, now seems like a good time to look back at the wall crawler's first cinematic outing. My knowledge of Spider-Man comics is fairly decent, but by no means expert. So I'm relying on others better informed than myself to pitch in wherever I've missed something.

Director Sam Raimi is a lifelong Spider-Man fan and supposedly owns a collection of over 25,000 comics. He discussed the source material's influence on the film during a panel at the 2002 LA Comic Book and Science Fiction Convention:

I think the biggest influence was the forty years of great Stan Lee and Steve Ditko and all those great Marvel artists and writers that have written the books. That really was 90% of what we tried to put on the screen. David Koepp the writer, contributed a great deal. So did Alan Sergeant who did a great polish for us. Everybody from the story board artists to the actors all came up with material. Everything that even Avi or Laura came up with was all about trying to bring to life the vision of the Marvel comics. So I think the biggest influence was just those books, those same books we all grew up reading.

http://fakeshemps.com/samconmay/index.html

The movie draws most heavily from the Silver Age Stan Lee/Steve Ditko stories of the 1960s, but also incorporates more contemporary elements from the Ultimate Spider-Man series.

Let's start at the beginning.

The first character we meet in the film is Peter Parker. Peter is initially depicted as a scrawny nerd who gets picked on by his classmates. This is consistent with how he was portrayed in his debut story, 'Spider-Man!' (Amazing Fantasy Vol 1 #15, August 1962).

When we first see Peter in the movie he's racing to catch a school bus. Amongst the other passengers are his classmates Mary Jane Watson and Flash Thompson. Mary Jane first appeared in 'Captured by J. Jonah Jameson!' (Amazing Spider-Man Vol 1 #25, June 1965), though her features weren't revealed until 'The Birth of a Super-Hero!' (The Amazing Spider-Man Vol 1 #42, November 1966).

Flash Thompson first appeared in Amazing Fantasy Vol 1 #15.

The idea of Peter and Mary Jane being childhood neighbours originated in Ultimate Spider-Man Vol 1 (2000). The scenes of Peter admiring Mary Jane from afar are reminiscent of 'Powerless' (Ultimate Spider-Man Vol 1 #1, October 2000).

In the film Peter's class goes on a school trip to a genetics laboratory. In Amazing Fantasy Vol 1 #15 Peter goes to a laboratory on his own, while in Ultimate Spider-Man Vol 1 #1 he visits an Osborn Industries lab as part of a class trip.

It's outside the lab that Peter meets up with his best friend, Harry Osborn. Harry first appeared in 'If This Be My Destiny...!' (The Amazing Spider-Man Vol 1 #31, December 1965) and was originally depicted as a friend of Flash Thompson who helped bully Peter. Harry and Peter eventually became friends in the comics, while in the movie they're depicted as friends from the get go.

Harry is dropped off at the museum by his father, Norman. Norman Osborn made his debut in 'The Goblin and the Gangsters' (Amazing Spider-Man Vol 1 #23, April 1965), though in the comics he wasn't revealed to be Harry's father until 'Once Upon a Time, a Robot...!' (Amazing Spider-Man Vol 1 #37, June 1966). The idea of Norman Osborn being the first major villain Spider-Man faces comes from Ultimate Spider-Man Vol 1.

Harry stands up for Peter when the other kids are bullying him. The following panel is from Ultimate Spider-Man Vol 1 #1.

It's during the lab visit that Peter is bitten on the hand by a radioactive spider.

He begins to feel queasy and heads for home.

Peter lives with his Uncle Ben and Aunt May, both of whom debuted in Amazing Fantasy Vol 1 #15.

While this is happening, Norman Osborn undergoes his transformation into the Green Goblin. Green Goblin's origins were first depicted in 'Spidey Saves the Day!' (Amazing Spider-Man Vol 1 #40, September 1966). Corporate backstabbing plays a role in both the comic and movie versions of his back story. In the comic Norman had ousted his business partner, Professor Stromm (aka Robot Master), in order to assume complete control over Oscorp. In the movie it is Norman himself who is forced out of the business.

Professor Mendel Stromm appears in the film as one of Norman's researchers. Stromm developed the Green Goblin formula in the comics, while in the movie he and Norman apparently created it together. In the comic Norman has Stromm booted out of his company, while in the film he murders him.

In both the comic and the film, Norman's transformation occurs while he is testing a mysterious green formula in his laboratory late at night.

In the original comic there is an explosion in the lab which results in Norman being accidentally exposed to the green formula, while in the film he intentionally tests the substance on himself. This reflects the Ultimate Spider-Man version of his origins, which also showed Norman testing the formula on himself. The formula grants him superhuman strength, but also drives him insane.

Peter wakes the next morning to find he has undergone a physical transformation of his own. The following panel is from 'Growing Pains' (Ultimate Spider-Man Vol 1 #2, December 2000).

The scene where Peter fights and humiliates Flash in front of his classmates is also taken from Ultimate Spider-Man Vol 1 #2.

Peter now has enhanced strength, agility and reflexes and can climb walls with his bare hands.

He also has the ability to shoot webs out of his wrists. In the comics Peter built special web shooters to achieve this, but in the movie his web-shooting powers are purely organic.

Raimi cited James Cameron's unproduced Spider-Man movie treatment as the origin of the organic web shooter concept. A similar idea was explored in the comics during the 'Changes' storyline (Spectacular Spider-Man Vol 2 #17-20, September-December 2004) where Peter developed organic web shooters after being kissed by Queen in 'Under My Skin: Part II' (Spectacular Spider-Man Vol 2 #16, August 2004). This story was published the same year as Raimi's Spider-Man 2 was released.

The first time Peter swings on his web in the movie, he references the catchphrases of two DC Comics characters. First he says "Up, up and away, web!" in allusion to Superman, then "Shazam!" in reference to Captain Marvel.

The sketches Peter creates when designing concepts for his costume were drawn by comic artist Phil Jimenez. One of the designs is redolent of his black outfit from the comics, only with the white areas coloured red. The black suit would appear in Raimi's third Spider-Man film.

Conscious of certain changes in his nephew's attitude, Uncle Ben tries talking to Peter about the importance of responsibility. The line "With great power comes great responsibility" is repeated throughout the film. It is taken from Amazing Fantasy Vol 1 #15.

The idea of having Uncle Ben speak this line to Peter has its basis in 'With Great Power' (Ultimate Spider-Man Vol 1 #4, February 2001).

Looking for a way to make money from his new gifts, Peter decides to try his hand at wrestling.

The wrestling commentator introduces him as 'The Amazing Spider-Man', thereby referencing the title of the character's first solo comic. This detail is taken from 'Wannabe' (Ultimate Spider-Man Vol 1 #3, January 2001)..

Donning an early prototype costume, Peter enters the ring with the wrestling champion.

Using his enhanced agility and strength he is able to dodge the wrestler's attacks and win the fight.

During the match, Peter taunts the wrestler with wiseass remarks: "That's a cute outfit. Did you husband give it to you?" Taunting enemies during combat is one of his signature traits in the comics.

After triumphing in the ring, Peter goes to collect his winnings from the promoter. However the promoter refuses to pay him the full amount on the basis that he pinned his opponent too quickly. In the comic Peter received his full winnings and went on to earn more money making numerous media appearances. A fateful incident occurs in both the film and the comic where Peter sees a robber making a getaway with some stolen loot. In the comic this scene takes place in a TV studio after one of Spider-Man's demonstrations. In the movie it happens outside the wrestling promoter's office immediately after he refuses to pay Peter his winnings.

The security guard chasing the criminal calls out for Peter to stop the thief. But Peter steps aside and allows the criminal to make his getaway in a nearby elevator.

The security guard then reprimands Peter for letting the thief go free. Peter responds that it's not his concern.

On his way home, Peter makes the horrifying discovery that Uncle Ben has been shot and killed. In the comic Ben was shot at home by a burglar, while in the film he is shot by a carjacker while waiting for Peter.

This is one aspect of the film that I would argue improves on the source material. In the comic we're expected to believe that the same criminal who robbed the TV studio just happened to burgle Uncle Ben's house soon afterwards. The movie makes this more plausible by having Ben get shot during a carjacking incident while he was waiting for Peter. This gives Ben a logical reason for being in the vicinity of the first robbery, as well as amplifying Peter's guilt over his uncle's death.

Peter's grief gives way to anger and he embarks on the trail of the gunman.

This marks the first time he properly web swings through the city in both the comic and the film.

The police pursue the criminal to an abandoned building and corner him inside.

Peter ventures into the building to apprehend the killer.

A brief fight takes place, during which Peter disarms and subdues his opponent. The criminal's hat comes off during the scuffle and Peter gets a good look at him, only to discover it is the same robber that he allowed to escape earlier in the story.

In the comic Spider-Man hands the robber over to the police, but in the movie the criminal stumbles backwards through a window and plummets to his death.

[Silver Nemesis]

Elsewhere, Green Goblin makes his costumed debut. The Green Goblin first appeared in 'The Grotesque Adventure of the Green Goblin' (Amazing Spider-Man Vol 1 #14, July 1964), although his true identity and origin story were not revealed until later issues. In the film we know he is Osborn from the very beginning.

Goblin uses his iconic goblin glider throughout the film. The comic book Goblin originally rode on a mechanical broomstick. His goblin glider didn't appear until 'The Return of the Green Goblin!' (Amazing Spider-Man Vol 1 #17, October 1964).

Returning to our hero, we see Peter graduate from high school with Harry and Mary Jane. Peter graduated in the comics back in 'The Menace of the Molten Man!' (Amazing Spider-Man Vol 1 #28, September 1965). In the film Norman congratulates him on overcoming the adversity of his uncle's death. Aunt May says something similar to him in the comic.

It is now that Peter finally dons his classic comic book costume. The shape of the eyes on the mask recalls the original design by Steve Ditko.

The film's montage sequences involving newspaper headlines are also evocative of Ditko's artwork.

Spider-Man leaves a note with one of the women he saves, crediting her rescue to 'Your friendly neighbourhood Spider-Man'. This is a reference to the lyrics of the theme song from the 1967 animated Spider-Man TV series. A full version of the song plays during the movie's end credits.

In the movie the note reads, "Courtesy, your friendly neighbourhood Spider-Man." This line is taken from 'Nothing Can Stop... the Sandman!' (Amazing Spider-Man Vol 1 #4, September 1963).

Next we are introduced to J Jonah Jameson, editor of The Daily Bugle. Jameson first appeared in 'Spider-Man vs. The Chameleon' (Amazing Spider-Man Vol 1 #1, March 1963). As in the comics, he's portrayed in the film as an arrogant tight-fisted bully with an obsessive hatred of Spider-Man.

Also present at the Bugle are several other familiar characters from the comics, including Robbie Robertson, who debuted in 'In the Clutches of the Kingpin!' (Amazing Spider-Man Vol 1 #51, August 1967).

And Jameson's secretary, Betty Brant, who first appeared in 'Nothing Can Stop... the Sandman!' (Amazing Spider-Man Vol 1 #4, September 1963).

When discussing the difficulty they've had in getting photographs of Spider-Man, Robbie says, "Eddie's been on it for weeks." This is a nod to Eddie Brock, aka Venom, who would later appear in Raimi's third Spider-Man film.

Peter begins working as a freelance photographer so he can earn some extra cash selling Spider-Man pictures to Jameson. In addition to his scientific pursuits, Peter is also a photographer in the comics.

Peter and Harry move into an apartment together in the middle of Manhattan. They did this in the comics back in 'The Sinister Shocker!' (Amazing Spider-Man Vol 1 #46, March 1967). In the comic it was Norman who arranged the apartment for them. It's implied he may have done so in the film as well.

The first time we see Peter enter the apartment he tells Harry, "I was late for work and Dr Connors fired me." This is a reference to Dr Curt Connors, aka the Lizard. Connors would appear in Raimi's second and third Spider-Man films.

It's while Peter and Harry are living together that Harry begins dating Mary Jane. Harry dated Mary Jane in the comics too. This created some tension between him and Peter, as they were flatmates at the time.

The first battle between Spider-Man and Green Goblin takes place during a parade. During this scene Green Goblin wields his signature pumpkin bombs for the first time.

Spider-Man co-creator Stan Lee makes a cameo as one of the bystanders.

The scene where Green Goblin blasts through the wall of Jameson's office at The Daily Bugle recalls a similar scene in 'The Night of the Goblin!' (Peter Parker: Spider-Man Vol 1 #75, December 1996).

Spider-Man webs up Jameson's mouth to shut him up. The following panel is from 'The Goblin's Last Stand!' (The Amazing Spider-Man Vol 1 #122, July 1973). There are more references to this issue elsewhere in the film, but I'll get to those later.

Green Goblin incapacitates Spider-Man using some kind of knockout gas. He uses a similar gas to weaken Spider-Man in Peter Parker: Spider-Man Vol 1 #75.

Spider-Man refers to Green Goblin as 'Gobby', a nickname he's also used in the comics.

The scene where Peter hides on the ceiling of his bedroom to avoid being seen in his costume is adapted from 'The Return of the Vulture' (Amazing Spider-Man Vol 1 #7, December 1963).

During the finale, Spider-Man uses his webbing to catapult himself through the air. He's used this trick countless times in the comics, with the earliest example being way back in Amazing Spider-Man Vol 1 #1.

The scene where Spider-Man confronts the Green Goblin at the Queensboro Bridge is inspired by 'The Night Gwen Stacy Died' (Amazing Spider-Man Vol 1 #121, June 1973), only in the comic this confrontation took place at the George Washington Bridge. In the comic the Green Goblin had kidnapped Gwen Stacy, while in the film he has taken Mary Jane hostage. In both stories he takes Spider-Man's love interest to the top of the bridge and issues an ultimatum to the web slinger.

In the comic this confrontation marked the shocking demise of Gwen Stacy. But in the film Spider-Man is able to save Mary Jane.

The moment where Green Goblin snares Spider-Man with a cable and drags him behind his glider might have been inspired by the cover of 'How Green Was My Goblin!' (Amazing Spider-Man Vol 1 #39, August 1966).

The final fight between Spider-Man and the Green Goblin in the abandoned building is based on their showdown from Amazing Spider-Man Vol 1 #122, which was the issue following their confrontation at the George Washington Bridge. As in the comic, the movie fight ends with Spider-Man gaining the upper hand and beating the Green Goblin into submission with a flurry of furious punches.

Spider-Man reins in his anger and shows mercy. But behind him, the Goblin's remote control glider is moving into position to stab him in the back.

Spider-Man's spidey sense kicks in and he dodges out of the way.

The Green Goblin is killed, impaled against a brick wall by his own glider.

The movie version of this scene also recalls Ben Reilly's death in the aforementioned Peter Parker: Spider-Man Vol 1 #75. In that story Norman uses a remote control on his wrist to summon his glider in an attempt to stab Peter in the back. Only this time, instead of Spider-Man dodging out of the way, Ben throws himself in front of the glider and gives his life to save Peter.

In the movie Spider-Man removes Norman's costume to prevent Harry from learning the truth about his father. In the comic it is Harry himself who removes Norman's costume in order to protect his reputation.

The scene of Mary Jane comforting Peter at Norman's funeral recalls how she comforts him at Gwen Stacy's funeral in '...Just a Man Called Cage!' (The Amazing Spider-Man Vol 1 #123, August 1973). Aunt May is present at both funerals.

And that's about all I've got on Spider-Man (2002).

[The Joker]

Nice work, Silver Nemesis!

Very well put together, and great job in research.

[Silver Nemesis]

Cheers, J! I appreciate the feedback.

I've never been a hardcore Spider-Man comic fan, so my knowledge is mostly limited to the Silver Age and nineties comics, plus one or two classic stories from other eras (The Night Gwen Stacy Died, Kraven's Last Hunt, Civil War, etc). I was hoping someone might pitch in with other references I missed. For example, does anyone know a comic that might have inspired the parade scene? Or how about the fight between Spider-Man and Green Goblin in the burning building? Does either of those have a precedent in the comics?

[The Joker]

The parade scene fight isn't ringing any comic influences bells for me, but I think the fight within a burning building between Spidey and Gobby has some significant influence from "Peter Parker: Spider-Man #75" from 1996 where the entire Clone Saga came to a close, and where Norman made his full return fighting Spider-Man within a damaged/burning Daily Bugle.

http://www.chasingamazingblog.com/wp-content/uploads/PPSpiderMan75_06.jpg

http://1.bp.blogspot.com/-E4Os4l_SK2Q/T9n7YjzU7WI/AAAAAAAAEW4/AOVBhJSVzL0/s1600/22.jpg

[Silver Nemesis]

Yeah, that was the closest thing I could connect it with too. That issue seems to have inspired the scene where Norman goes after JJ, so perhaps the fight in the burning building was derived from the same source.

[The Joker]

Recently, a better quality version of the original Twin Towers teaser from 2001 has been posted on youtube.

[Silver Nemesis]

I didn't spot this myself, but someone in the comment section pointed it out. Look at the painting in the background at the 31 second mark.

It would add a note of irony if this was the same bank Doc Ock robbed in the second movie.

This teaser brings to mind the fact that Raimi's Spider-Man films are very much products of a post-9/11 America. Even though the first one was shot before 9/11, it was edited and supplemented with reshoots to make it more palatable to the audience of that time. The most obvious example of this is the scene where the New Yorkers try to help Spider-Man on the bridge. There's a similar moment in Spider-Man 2 where the passengers on the train try to protect Spidey from Doc Ock. At any other time, these scenes might have come across as cheesy or saccharine, but when viewed in their correct political and historical context (they reflect a city healing in the wake a terrible tragedy) I think they're actually rather touching.

Normally when we speak of post-9/11 films and TV shows we think of things like 24 or The Dark Knight that focus on terrorism and security concerns. But Raimi's Spider-Man films present a different angle on the post-9/11 mentality; one that places less emphasis on fear of the perpetrators, and more emphasis on admiration for the survivors. These films portray New Yorkers as people who can still be obnoxious and selfish, but ultimately band together to pitch in when a crisis occurs. And this connects with the idea that anyone can be a hero, even a bespectacled geek from Queens that everybody looks down on. A scene like this in a modern Spider-Man film probably wouldn't work (the kid facing off against Rhino at the end of The Amazing Spider-Man 2 springs to mind). But when I see those moments in Raimi's films I remember why they're there, in terms of the historical context, and it always makes me feel a little sad.

[The Joker]

That's true.

Matter of fact, I watched this movie just last night, and once the scene with the New Yorkers distracting the Green Goblin, I was instantly reminded of the social climate directly following 9/11. Viewing that scene thru the lens of today, without the context, I could see how one would view it as corny, but back then, completely different story. There was a feeling of being united and patriotism following the 9/11 attacks. I mean, I still remember the sight of republicans and democrats of the congress coming together, shortly following the attacks, to sing together "God Bless America". I was working retail at the time, and we literally could not keep the american united states flag in stock. Naturally, I think Raimi would have felt excluding such a shift in the climate of that era to be a miscalculation, and I think he was exactly right. Spider-Man was, and always has been a very New York based type of character, and not acknowledging the then-current climate of New York would have been a mistake. Even if some think such a scene dates the film, I am glad it's there. As SN said, Raimi's take is a much more optimistic one in the then-new post 9/11 world, than the much more cynical takes we would end up being saturated with in tv/film.

[thecolorsblend]

Purple dress, green coat and black head band thingie. The lovely Kirsten Dunst looks rather Gwen Stacy'ish during the science exhibit part of the movie.





Speaking of The Night Gwen Stacy Died, movie Spider-Man webs movie MJ after she falls off the balcony during the Thanksgiving Day Parade scene. It is rather similar to TNGSD, except movie Spider-Man stuck the landing and managed to save movie her without, y'know, the whole broken neck bit. The movie web line has more bounce to it so movie she nearly hits the ground. Nearly, but not quite.

Both of those references seem a little too clear to be accidents.