Marvel Comics Digest #1
☆ Be the first to review + Add to your collection — Join freeIn "Just a Guy Named Joe!", an ordinary man named Joe Smith—no superhero, just a guy—tries to prove himself as an actor, only to be transformed into a rampaging robotic monster after a freak accident. As chaos unfolds, Spider-Man faces relentless attacks from Norman Osborn’s hired thugs, all while narrowly avoiding a chance encounter with Mary Jane. Written by the legendary duo of Stan Lee and Steve Ditko, with Ditko handling art, inks, and colors, and Stan Goldberg adding his signature palette, this 2017 Marvel Comics Digest tale blends suburban frustration with high-stakes action—every page drawn with Ditko’s unmistakable precision and flair.
In "Just a Guy Named Joe!", Joe Smith—just an ordinary guy with big dreams—finds himself transformed into something far from ordinary after a lab accident turns him into a rampaging robotic monster. As he battles his own escalating fury, the city grapples with a new wave of violence, while Spider-Man dodges assassins sent by Norman Osborn and narrowly avoids a chance encounter with Mary Jane.
In "On a Clear Day You Can See...The Mirage!", Peter and his friends are at the wedding of Betty and Ned when the celebration takes a sudden turn—unexpectedly interrupted by the enigmatic villain Mirage, whose motives remain as elusive as his appearance. With the festivities thrown into chaos, the group must navigate the threat of a mastermind who’s turned a joyous occasion into a high-stakes game.
In "Duel to the Death with the Vulture," Spider-Man faces off against the elusive, winged criminal known as the Vulture, a menace the police can't seem to stop. With the stakes high and his aunt’s rent on the line, Peter Parker captures the fight on camera, selling the photos to J. Jonah Jameson at the Daily Bugle.
When Spider-Man’s powers suddenly fail, he embraces the freedom of being just a regular teen—until the Sinister Six strike, kidnapping Aunt May and J. Jonah Jameson, forcing him to confront what it means to be a hero even when he can’t swing through the city.
In "Ultimate Peter Parker," SHIELD’s high-stakes game forces Spider-Man to go public, while a lifelike android takes his place at school—leaving Peter to navigate the fragile line between identity and deception.
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↩ Reprints The Amazing Spider-Man #38 (1966), The Amazing Spider-Man #156 (1976), The Amazing Spider-Man #157 (1976), The Amazing Spider-Man #158 (1976), The Amazing Spider-Man #159 (1976), Marvel Age Spider-Man #1 (2004), Marvel Age Spider-Man #6 (2004), Marvel Adventures Spider-Man #2 (2005), Marvel Adventures Spider-Man #3 (2005), Marvel Universe Ultimate Spider-Man #1 (2012)
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