When The Vulture Comes Calling...!

While it's not the first time we've seen the notorious Vulture at death's door, we're given additional insight into this villain's character in a three-part story from 1992 which once again has him facing the Grim Reaper (no, not that Grim Reaper)--not from the machinations of a fellow prison inmate, but from the ravages of cancer due to his own oversight. From what we've seen of the Vulture over the years, there isn't much to redeem Adrian Toomes, as vengeance and wealth have been the driving forces of his life ever since he turned to crime, and he's made no apologies for the lengths he's willing to go to achieve them--and in typical fashion, he prepares to meet death as gruesomely as he furthered his criminal career. So even the story's ending will have you wondering whether to dignify his impending death with a modicum of sympathy, or, at the very least, to take pity on him. But there is one who puts aside their personal animosity for this man and does so, to an extent--and thus their character, as well, is treated a little differently than you'd expect.

Naturally, the amazing Spider-Man figures prominently into this story, as he remains what the Vulture considers to be his greatest nemesis. As for whether we can expect the Vulture to exhibit any feelings of contrition as he approaches the end of his life...

...well, it doesn't appear that will be the case.

In addition to how this story unfolds, what may also stand out for you as a reader is the work of longtime Marvel artist Sal Buscema, who was 66 at the time this story saw print and who had by this point detailed the exploits of Spider-Man prolifically across a number of titles the web-spinner has appeared in. In '92 his style appears perhaps more rushed than it did a decade or two past--and as accomplished an inker as he is, he benefits from having a strong finisher rather than choosing to ink his own work as he does here. But his story-telling remains first-rate, and his use of panels throughout this tale is repeatedly stunning and more extensive than what you'll see sampled in this review. Often writer J.M. DeMatteis is content here to have Buscema's work stand alone, without narrative or captions--perhaps to further isolate the Vulture's thoughts and actions as he silently comes to terms with wrapping up his affairs.

Another victim of note in the Vulture's to-do list of settling accounts would be Gregory Bestman, Toomes' former business partner who betrayed him by siphoning off their profits. The Vulture's first attempt to exact vengeance on Bestman was foiled by Spider-Man; this time, however, Bestman isn't so fortunate.

Spider-Man is on that list, as well--and while the Vulture may have been saving him for last, their paths cross just as Toomes is at his most vulnerable, railing against the fate that closes in on him, and dealing with Spider-Man offers welcome release from his own tormented thoughts.

As we open the pages to Part 2 of the story, we discover that the Vulture considers Spider-Man less pressing business than the individual he pays a visit to next--one of the last people we would expect him to have on his mind in terms of tying up loose ends, but nevertheless an individual whom his conscience (such as it is) won't permit him to overlook.

For an explanation as to how May Parker, of all people, wound up in the Vulture's twisted mind as someone he needs to cross off his list (though hopefully in a manner other than what we've already seen), we have to go back over ten years to a story that finds May's friend, Nathan Lubensky, undergoing his regular physical therapy routine and offering a supportive perspective on growing older to Toomes when he appears to be on the verge of tossing in the towel on life.

Artwork by John Romita Jr. and Pablo Marcos

Thanks to Nathan (if indirectly), Toomes turns around his attitude faster than you can say "jacuzzi" and fashions a crude magnetic harness from the spare parts he runs across, allowing him to escape his confinement at the nursing home and reignite his life as the Vulture.

But when they meet again eight years later (our time), Toomes is in a desperate situation and in need of a hostage to make his escape--and in his haste, he doesn't at first recognize Nathan as the one who tries to prevent it.

Artwork by Erik Larsen and Mike Machlan

Technically, you could say that the Vulture didn't kill Nathan--particularly since, at the time, Nathan was virtually on his deathbed and he wasn't expecting to live for much longer. That said, however, you'd be hard-pressed to say that the Vulture wasn't responsible for causing Nathan's premature death. And as the Vulture confronts May (and vice versa), it's clear that each feels the same way, as Toomes reveals the purpose for his visit:  to make amends.

Peter Parker, not surprisingly, is as furious as his aunt at the Vulture, but for a different reason:  he is incensed at the thought of one of his enemies bringing their fight to May's home and menacing her as leverage. At first Peter is under the belief that Harry Osborn, who has returned to being the Green Goblin, is responsible for informing the Vulture as to Peter's identity as Spider-Man. By the time Peter discovers the true reason for the Vulture's visit to May, however, the Vulture has taken steps to distract himself from May's reaction to his apology by putting his true enemy in his sights.

As a precaution, Peter stands vigil at May's house when she turns in for the night--with good reason, as we learn when the Vulture indeed returns in another attempt to gain May's forgiveness, this time at gunpoint. But after dropping the gun in good faith, he and Peter get into an altercation, not realizing that the weapon has been picked up by another.

And so the Vulture removes Peter to his silo hideout, the same one he continues to return to in the mistaken belief that no one will be looking for him there. And while his actions remain reprehensible, it becomes clear to us just how important the Vulture's closure with May means to him--but to what end? It's fascinating that DeMatteis continues to have the man hold onto that hope, given his ruthless history as a criminal and utter contempt for those who have had the unfortunate luck of crossing paths with him. As it happens, his conflicted state of mind helps to set up (either intentionally or otherwise) a powerful response on Peter's part.

On the verge of being sympathetic to the Vulture's state of mind, Peter unfortunately happens to glance in the direction of another part of the room, where he spots the bloodied and broken corpse of Bestman, a sight which immediately snaps him back to the kind of man the Vulture is. Wildly, he then makes an escape attempt that almost appears to be suicidal, by hurling himself at the dodging Vulture to subsequently take a dive out of the Silo's open window. But in what must be one of the fastest costume changes ever on record, he reappears as Spider-Man to take on one of his oldest enemies in what might well be their final battle.

Looks like it might take one more issue for these two to bury the hatchet.

(Figuratively speaking, we can only hope.)

NEXT:

"Your Death Before Mine!"

Spectacular Spider-Man #s 186-187 Script: J.M. DeMatteis Pencils and Inks: Sal Buscema Letterers: Rick Parker and Joe Rosen