"A Monster Called... Morbius!"

 

On the heels of the 100th issue of Amazing Spider-Man came the introduction of Morbius, the "Living Vampire" who became one of the living dead through scientific means, rather than through sorcery or as a victim of a vampire's attack. (Though if you think about it, "living vampire" and "living dead" are synonymous with each other, no?) It could also be said that Morbius, technically a vampire but not exactly the real thing, came on the heels of revisions to the Comics Code Authority being made during 1971 that eventually eased the restrictions regarding vampires, though such restrictions would have likely proven inapplicable to Morbius given the circumstances of his origin.

As for why we aren't seeing Dracula or some other traditional vampire appear on the issue's cover rather than Morbius, we have Stan Lee to thank for mentioning his preference to writer Roy Thomas* for this new Spider-Man villain to be costumed, with Thomas getting around a scientist having such garish attire by having the costume be worn "as secondary insulation against the shock" of the experiment meant to electrically create replacement blood cells in order to save his life. (Baloney. Why outfit such a suit with a red cape, or any cape?)

*This would be the first ASM issue that Lee had not scripted, though Thomas is only "standing in" for the time being, as the credits indicate. Lee would return with issue #105, before handing the reins to the book's new regular writer Gerry Conway with issue #111.

Still, it's an impressive new character that faces an equally-startling new version of Spider-Man. As for those extra arms that Spider-Man is sporting, what gives? It just so happens that Peter Parker has been doing a little experimenting of his own.

Presumably this would make Spider-Man a mutant--or does that strictly apply to characters whose mutations resulted from radiation or atomic-based exposure? Wait... that would make the Hulk a mutant, wouldn't it?? Let's leave this tangled subject to others to wrestle with, while you and I take a look at "A Monster Called... Morbius!"

As far as the positives to this new state Peter has found himself in, there don't appear to be many (aside from, say, taking multitasking to a new level if he should decide on a career in research):

(I don't suppose Peter thought of easing into this sort of news to his aunt with a phone call, rather than blithely walking through the door.)

For now, however, Peter decides to go into seclusion--and his friend, biochemist Curt Connors, offers him the ideal place which would also allow Peter to hopefully reverse this condition. The sooner, the better, no doubt, with his trial run with his new appendages serving to provide additional motivation.

In Southhampton, in a scene mainly used by Thomas to build anticipation and a sense of dread for the arrival of this story's ghoulish foe, Peter's spider-sense alerts him in an almost clairvoyant manner to an area of Connors' house which artist Gil Kane directs our attention to--the home's belfry (sans bells), where Morbius would set his sights on upon his own arrival.

It wouldn't be the only time** when Peter would ignore his early warning sense--two days early, in this case, given that Morbius is currently over a mile offshore and terrorizing the unfortunate crew of a vessel which had rescued him from the ocean and have been paying the price for that selfless act in the days since.

**A no-prize to the reader who can pinpoint when Peter's spider-sense has ever tingled its warning of something or someone that isn't present in or at the location it's directing him to, because frankly I'm drawing a blank.

Despite what we've seen of the fate of the crew, Morbius is proving himself to be something of an enigma--half fiend, half remorseful, for reasons which we won't be learning in this issue. Yet whether or not that will translate to sympathy on our part remains to be seen, as he finally makes landfall at sunrise to seek refuge in a structure now familiar to us.

And speaking of not learning, Peter has hit a wall in his efforts to make any progress on his condition and is understandably reacting in angry frustration. (I can't speak for Peter, but I'm sure even bona fide biochemists might balk at the thought of inexplicably continuing to wear a costume mask while conducting experiments for two days straight.) But with Morbius up and about, Peter is going to be taking other, possibly more life-threatening hits from someone far more driven by his own needs.

(First it works when it shouldn't--now it doesn't work when it should. We weren't expecting you to need a learning curve on the use of this flagship character's spider-sense, Mr. Thomas.)

If his spider-sense isn't working properly, we probably can't expect those extra arms to be decisive in helping Spider-Man in this struggle. Morbius, however, isn't impaired except to the extent that all he can hear is the dinner bell, and so...

Nor does Morbius hesitate to swoop in for the kill with his prey now helpless. But to make matters worse, if that's even possible at this point, a third party enters the fray in time to prevent Morbius from committing yet another murder, only to seemingly place Spider-Man's life in even more danger than it was (if that's even possible) when Curt Connors once again transforms into one of the web-spinner's most dangerous foes.

Will these two attack each other--or take the opportunity to rend their weakened, mutual foe limb from limb (er, limbs)?

NEXT: The PPC takes you back to this story's double-sized conclusion!