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"The Life and Times of Peter Parker: Teenage Martyr"
(Part Three)
The advent of artistic draftsman John Romita on the SPIDER-MAN title signaled a far larger change in overall storytelling approach than is the standard, so far as these things generally go.
With the change from the quirky, semi-claustrophobic stylings of the iconoclastic Steve Ditko to the cleaner, more optimistic line of Romita came a concomitant "brightening," somewhat, of the series' overall tone. Whereas one could not honestly term Peter Parker's adventures, even then, as being "sunny" or "carefree" -- the whole "superheroes-with-stigmata" thing was still moving Marvel comics by the railroad boxcar load at this point, thank you very kindly -- the character himself began to move about more freely within the boundaries of the Marvel universe overall, interacting with a far greater number and variety of established heroes, in turn.
Significant "crossovers," at this juncture, included the (by now) ritualized Marvel formula of: 1.) meeting; 2.) misunderstanding; 3.) brawling; and 4.) teaming up with such major players as The Black Widow; the FANTASTIC FOUR's Human Torch; the X-MEN's Iceman; Ka-Zar; and the mutant AVENGER known as Quicksilver, among others. [See cover reproduction, below]
Such mixing and matching of Marvel's "everyman" character proved so popular, in fact, that Marvel eventually succumbed to the fiscal allure of swiping a page from rival DC Comics, and created a title (MARVEL TEAM-UP) specifically designed to showcase Spider-Man in monthly combination with any and every spandexed individual within the company's canon, proper. [See cover reproduction, below]
As with the previously established WORLD'S FINEST and THE BRAVE AND THE BOLD (wherein longtime DC icons Superman and The Batman held forth in similar fashion), the actual stories contained therein were seldom little more than hastily-constructed storytelling rationales for the characters to butt heads with one another, often as not. Still: the resultant efforts were frequently entertaining -- or, at the very least, energetic -- and the series enjoyed quite the healthy little "run," all told (thirteen years, give or take) while it lasted.
Paradoxically, however: it was during precisely this more (comparatively) "upbeat" era in which the most tragic occurrence ever within the character's studiedly bleak history took place -- a landmark event which startled and shook a complacent comics readership as much as has any within the history of the super-hero genre.
Ever.
I refer, of course, to the death of one Gwen Stacy.
Abducted by the insane and malevolent Green Goblin (who had long since divined the secret of Peter Parker's dual identity), the gentle, loving Ms. Stacy perished as a direct result of the Goblin's placing her in harm's way, the better to lure his hated foeman to his doom.
Shocking enough, surely... but: even more stunning, still, was the not-so-subtle implication within the story itself that it was an ill-considred and panic-stricken maneuver on Spider-Man's own part which (ultimately) hastened his own true love's demise (!!).
The Goblin, you see, had sent the unfortunate woman careening over the side of a high, towering suspension bridge... and Our Hero, naturally enough, attempted to effect a quick rescue of his lady fair by arresting her downward descent via the usage of his ubiquitous "webbing."
Note it well (and check for yourselves, if you've any doubts whatsoever at this point): the panel in which Spider-Man's web line snags the plummeting damsel is accompaanied by an underplayed -- but plainly visible -- "snapp"ing sound effect.
As we are later informed: the official cause of Gwen Stacy's death, upon autopsy investigation, was listed as: "broken neck."
Allow that to sink in for a moment, for full numbing, horrific effect.
That was issue #121.
In issue #122... the second storytelling shock was duly administered to a poleaxed readership.
An enraged and embittered Spider-Man sought out the Green Goblin -- who, at this point, easily qualified as The Single Most Loathed and Despised Super-Villain Ever Ever Ever To Appear Within the Pages of a Marvel Comic Book, hands down, no questions asked -- in order to extract a fatal, final portion of vengeance.
Scant heartbeats before Peter Parker could cross that moral and emotional Rubicon, however...
... well: it's better if you simply see the fateful scene in question for yourselves.
One word: whew -- !! 
Of course, a storytelling effort so primal and perfect as was this one -- scripted by the much-maligned Gerry Conway, and rendered in tandem by both Gil Kane and John Romita -- simply couldn't long endure without the (inevitable, perhaps) ham-fisted meddling on the parts of later Marvel writers and editors, in turn. Misguided (read: moronic) editorial meddling later forced the aforementioned Mr. Conway to cobble up a thoroughly inane storyline in which Gwen Stacy (briefly) effected a "return," of sorts, as -- my solemn oath on it -- a clone of her former self. And: in just a month or two from now (as of this writing), yet another writer will be (pointlessly) resurrecting the long-deceased Goblin, as well.
There oughtta be a friggin' law.
I'm just sayin', is all.
Peter Parker, over the years, has -- as Marvel Comics' official martyr- without-portfolio -- suffered practically every indignity known to fanboy and/or man. Poverty. Hatred. The deaths of countless loved ones. The awful, conjoined burdens of guilt and incessant self-loathing. Todd McFarlane.
In light of all that: he shouldn't also be forced to bear the unsightly stigmata of Grotesquely Bad Writing, as well.
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