Amazing Spiderman #700

[Ayelbourne]

I think what is most people putting off isn't that Peter is dead. I'm sure almost everyone is aware that this is only temporary.

The problem is the new premise. We have a creepy old fuck in a young man's body who might get to rape the girlfriend of his arch nemesis (who he killed).
That right there is just gross and I don't wanna read about it at all..

Other replacement stories don't really compare since the replacements (like Dick Grayson, Ben Reilly or Bucky) where nice guys who hadn't forced anything on the hero.

[Hartzilla2007]

Ayelbourne wrote:

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I think what is most people putting off isn't that Peter is dead. I'm sure almost everyone is aware that this is only temporary.

The problem is the new premise. We have a creepy old fuck in a young man's body who might get to rape the girlfriend of his arch nemesis (who he killed).
That right there is just gross and I don't wanna read about it at all..

Plus this was how they decided to celebrate the 50th anniversary so that probably going to annoy people

Other replacement stories don't really compare since the replacements (like Dick Grayson, Ben Reilly or Bucky) where nice guys who hadn't forced anything on the hero.

Interestingly enough from what I hear Ben Reilly was an ironic case where in a period where replacement heroes were dark and gritty versions of the originals the new guy wasn't dark and gritty where as the original he replaced was in a dark and gritty story because Parker was angsting over thinking he was the clone at the time.

[BillJ]

I think comics biggest problem is they use to do things that simply couldn't be done in movies because of cost and the tech didn't yet exist to pull it off. Now I can spend four bucks on a comic that takes five minutes to read or spend ten and go watch super-heroes do the same thing on the big screen for two hours.

Comics no longer have the market cornered when it comes to 'larger than life' story telling.

[PsychoPere]

Beyond Antares wrote:

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This thing costs almost 8 bucks on comixology rofl. Who the hell would pay that?

It's something like 97 pages total. Of course it costs more than a normal issue. I don't regret spending a penny of it.

[Samurai8472]

I know where exactly to put this

[Allyn Gibson]

Samurai8472 wrote:

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I know where exactly to put this

Dan Slott was on NPR's Weekend Edition this morning. Guest host Linda Wertheimer mentioned that Stan turned 90 this week, and Slott said how he wished Lee a happy birthday earlier in the week, and Lee's response was, "Great birthday present, Dan, killing off Peter Parker!"

On a tangential note, someone should have told Wertheimer that Peter hasn't been a teenager since the 1960s.

[Servo]

Allyn Gibson wrote:

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Dan Slott was on NPR's Weekend Edition this morning. Guest host Linda Wertheimer mentioned that Stan turned 90 this week, and Slott said how he wished Lee a happy birthday earlier in the week, and Lee's response was, "Great birthday present, Dan, killing off Peter Parker!"

Funny bit was when Slott replied saying he was gonna print that tweet out and put it on his fridge, and Lee joked "well at least then you'll have some decent writing in your house".

[Praetor_Shinzon]

Servo wrote:

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Funny bit was when Slott replied saying he was gonna print that tweet out and put it on his fridge, and Lee joked "well at least then you'll have some decent writing in your house".

[Nick Ryder]

I just dunno What they were thinking with this idea. It would have been fine around like 695 or something, instead of the Lizard story and then Pete hanging up the webs and say giving it to like Alpha or something who can somehow take his place in the spider-totem thingy. And Peter Parker stays a scientist, gets back with MJ, knocks her up and just steps away... until the next uber storyline

[Mr. Laser Beam]

PsychoPere wrote:

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Peter's memories are in his body, but #700 explicitly showed that the golden Octobot was unable to physically connect with the body in order to transfer Peter's full imprint back in. Due to Spider-Ock's neck armor, the bot was only able to "wirelessly upload" Peter's memories.

That bot should still be out there, but now with no one's consciousness driving it since Peter-in-Ock is dead.

I see. So if Peter's consciousness is not in the bot, and not in his own body, it must logically be in Ock's body; thus, how could he possibly return? If Peter is trapped in Ock's body when it dies, then how can Peter do anything but die?

Having SpiderOck possess only Peter's memories doesn't make him Peter, of course.

[PsychoPere]

From what we "know" right now, the Octobot is sans master, since Peter had been controlling it by virtue of being in Ock's body (and likewise, Ock had previously controlled his various Octobots through brain wave transmissions or whatever, and no longer could once in Peter's body). But you do raise the big question.

We didn't see the Octobot transfer Ock's imprint into Peter's body in the first place (when it happened, it was off-panel and only later depicted). So, in like fashion, I'm currently assuming that Peter-in-Ock had the Octobot return to his body after the failed attempt to transfer his own imprint back into his body, while everyone was too focused on the Spidey/Ock fight/talk - and that, before finally dying, he transferred his full consciousness (whatever that would be, compared to an "imprint"*) into the bot, turning the bot itself into his new body.

That said, I'm hoping that Slott (or whoever is writing the book by then) finds a different and unexpected method to bring Peter back. It'd be boring if our two likeliest possible answers right now end up being one of the options that is ultimately used a year or two down the road when this SpiderOck storyline wraps up and Peter returns.

(* I honestly have no idea what the distinction is supposed to be vis a vis "consciousness vs imprint," but there seems to be one since the Octobots were portrayed as being controlled by a consciousness inside a body even when carrying someone's imprint. An imprint alone apparently wasn't enough to "drive" the bots.)

[Admiral_Young]

That's actually a photoshopped version of the actual photo which featured Stan shredding a copy of Superman #75

[Dream]

The Man Who Stole Spider-Man #700. And The Man Who Stopped Him.

I had to escort him out of the store for yelling. Then he threatened to call the cops and said I “assaulted” him. He left for a few minutes, came back, ran in when he saw me at the back of the store. I guess he figured I couldn’t run. He was wrong. He grabbed a handful of variants and bolted for the door. I was on him in seconds. Knocked some of the books from his hands. Without stopping he ran out into Melrose during high traffic. I stayed behind him. He turned to gloat, thinking he made a clean getaway, but I was already there. With all my force I shoved him into his car. I knelt down to grab the remaining comics he dropped. We were at his car it turns out. He swung open his car door and tried to hit me in the face with it. The door stopped a foot from my face. So I shoved the door closed, pinning him between his door and car. He was stuck. I screamed out him. He threatened that he had a gun and would kill me with it. I told him bigger forces than him have tried to kill me and failed. He then tried to play the victim and said he was buying for his kid. I told him he failed as a father then and if stealing is what he’s going to pass on to his child, then his kids should be taken from him.

http://www.bleedingcool.com/2012/12/...o-stopped-him/

Why the hell would someone steal this?

[Admiral_Young]

^ Possibly to spoil it? *Shrugs*.

[The Mirrorball Man]

BillJ wrote:

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I think comics biggest problem is they use to do things that simply couldn't be done in movies because of cost and the tech didn't yet exist to pull it off. Now I can spend four bucks on a comic that takes five minutes to read or spend ten and go watch super-heroes do the same thing on the big screen for two hours.

Comics still can do lots of things that can't be done in movies, not because of technology (honestly, who cares about that?), but because of the unique storytelling opportunities that sequential art offers.