How Spider-Man: The Animated Series Messed Up Venom

Welcome to Adventure(s) Time's sixtieth installment, a look at animated heroes of the past. Last week, we examined the debut of Spider-Man's famous black costume in both comics and animation. Today, we'll revisit the rest of the story. What happens when the stylish and cool black outfit turns nasty?

Okay, everyone knows Venom is what comes next. And the history behind his origin is also fairly well-known. Yes, Venom was initially conceived by writer David Michelinie as a female. A young woman in labor, specifically, who blamed Spider-Man for being unable to reach the hospital in time and losing her baby.

Even after the events of Web of Spider-Man #1, the black costume hadn't disappeared from the comics. Spidey was merely wearing a cloth replica while out on night missions. Amazing Spider-Man editor Jim Salicrup has stated previously his goal of having Spider-Man return to his original costume in issue #300. (Salicrup has also indicated that a brash young Todd McFarlane expressed interest in penciling Amazing...if Spider-Man returned to his true costume.) His bosses, Mark Gruenwald and Tom DeFalco, felt the landmark issue needed something else.

Michelinie pitched resolving the still-brewing Venom subplot for issue #300. (He'd included a few mystery scenes of a proto-Venom during his previous run on Web of Spider-Man.) Marvel editorial liked the idea, but felt strongly that Venom should be a male, not a female. As Salicrup has been quoted as saying, "Venom should be a guy. A big guy!"

So, after making two brief cameo appearances, Venom's true debut occurs in Amazing Spider-Man #300. We meet him as a mystery figure, searching for Peter Parker. He finds a newlywed Mary Jane at Peter's home instead, terrorizing her. (Peter and MJ being married, as we all know, destroyed interest in the series. Oh, wait. These are some of the highest-selling Spider-Man comics ever. Never mind.)

This scene might elicit eye-rolls today, but casting MJ in the petrified female role was rare during these days. Typically, she'd handle the stress of being Spider-Man's wife by going out and dancing. The creators were usually restrained in doing scenes like this. MJ's reacting this way because we're to believe this new threat is a very big deal indeed.

The next page offers the first real look at Eddie Brock, the man behind this monstrous new vision of the black costume. It's a nicely laid-out page by McFarlane that also emphasizes his inking skills. In just a few panels, you have a sense of the squallor Brock lives in. The gym equipment indicates the new villain's size, and the background newspaper clippings establish his antipathy towards Spider-Man. It's only one page, but it sums up much of the appeal of the character. He's Spider-Man...but big. And angry.

MJ's run-in with Venom has convinced her and Peter to move into a new place. This enables a few of the supporting cast to stop by, commemorating the anniversary issue. And provides us with a few pages of Peter doubting himself, realizing he can't begin to pay for his share of the new place. It also works to contrast Peter's life, surrounded by loving family and friends (while still having everyday anxieties), with the mess Brock's has become.

Hints of the new villain's past are dropped along the way, as he visits the church we remember from Web #1. There, he's confronted by a police officer who isn't long for this world. Villains casually killing civilians was still fairly new in 1987, a shorthand way to establish a foe as particularly nasty. Venom isn't quite in that category, even in his debut, however. The regret he feels for killing the man made the villain feel unique. It's smart writing on Michelinie's behalf. Venom views himself as the victim in the story, so any of the evil acts he commits he can't allow himself to view as honestly evil.

Eventually, Venom is able to draw Spider-Man's attention. And, naturally, the fighting stops just long enough for a villainous monologue. Michelinie reveals the new origin for his villain, establishing Brock as a reporter inadvertently burned by Spider-Man.

After praying over his suicidal thoughts at Our Lady of Saints Church, Brock encountered the spurned symbiote. He's absorbed knowledge of Peter's identity from the alien, and its sense of hatred. Venom now thinks an appropriate ending for the story is for Spider-Man to die in the church where he was born. He even adopts a priestly robe, a move I doubt the network censors would ever allow the cartoon to adapt. Ultimately, Spider-Man escapes and uses the church bells to harm Venom. The villain overexerts himself, and is taken to the Fantastic Four...to live in a tube, apparently.

(Don't ask me about the oddity of Fantastic Four continuity in this era. Some things you've just gotta leave to Brian Cronin.)

Upon returning home, MJ expresses a desire to never see that black costume again. Peter agrees, returning to his original suit. And with that, Spider-Man stuck with his original look for good. Or at least until some publicity could be squeezed out of a return to the black look.

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Airing eight years after the comics' publication, Spider-Man: The Animated Series has the benefit of hindsight. In fact, the show had been building to this moment ever since its pilot. The first season had already established Eddie Brock as a buffoonish foil for Peter. Rather than popping up as a retcon, this version of Brock has a specific story that's been developing over several episodes. It's a nice idea, giving fans anticipation for what they want, while also establishing a clear arc for the character.

May 13, 1995 marked the premiere of "The Alien Costume, Part Three" from writers John Semper, Jr. and Mark Hoffmeier. The episode opens with a bit lifted directly from Amazing #300, Brock feverishly working out while obsessing over Spider-Man. It's apparent from the opening, however, that the adaptation isn't going to match the intensity of the original.

While McFarlane's art conveyed the griminess of Brock's squalor, the animation feels as sanitized as any other stereotypical Saturday Morning cartoon. Truthfully, this is one of the weakest looking episodes of the entire first season. The previous two chapters fluctuated in quality, but did have moments of fluid animation that sold the story. Here, the script and acting have to work overtime to compensate for the cheap visuals.

It's unlikely the network would ever allow Venom to terrify MJ into hysterics, so the writers have to sell him in other ways. He introduces himself to Spider-Man by casually tossing off Rhino and Shocker, the threats from the previous two episodes. From there, Venom stalks Peter and his loved ones, hinting at the damage he can inflict on Peter's life. He's not allowed to be too threatening, however, nor are any of the physical confrontations between Spider-Man and Venom that memorable. Violence on Spider-Man was always kept to a bare minimum, with FOX Kids already more of a "professional" outfit than it was even during the first year of X-Men.

After a series of disappointing sequences, Spider-Man stumbles across a means of dealing with Venom. He leads Venom to the launch of a space shuttle, exploiting the noise of its engines to separate Brock and the alien. A stunned Brock is left behind after Spider-Man webs the alien to the shuttle, sending it back to space.

Following impressive two episodes, the final chapter of the trilogy comes across as rushed and just too tame. The producers do deserve credit for the unusual casting of Simpsons vet Hank Azaria, however. Eddie Brock has been a comedic foil in the previous episodes, always the butt of the joke. Casting someone like Azaria in that role makes sense. But his turn to Venom is a genuine surprise for viewers. You think this guy's just going to be a joke forever (assuming you've never read the comics), but he turns out to be Spider-Man's nastiest foe. And with the aid of various audio effects, Azaria truly becomes a ruthless villain.

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The Wrap-Up

Design-y

Venom's design for this series has never been too popular. The lips bother many viewers, as do the odd red and blue highlights along the costume edges. The way the eye design dimples to create two pupils also looks silly to me. It's a shame the limitations of the animation didn't allow them to genuinely recreate the more ragged eye design of Erik Larsen's Venom.

Continuity Notes

The scenes of Eddie Brock intruding into Peter's personal life come from his follow-up appearances in Amazing. Aunt May opening the door to discover Eddie on the other side is inspired by Amazing #317.

"Huh?" Moment

In neither the comic nor cartoon is Peter concerned about Brock knowing his secret ID, even after surviving their battle.

Creative Differences

Comics great Len Wein wrote the first draft for this episode, which was rejected. Producer John Semper has indicated in a Toonzone interview that Wein turned it in far too late. (Wouldn't you be more likely to use it during a time crunch, though?)

Battle of the Toothy Grins

Okay, there's no reason to be coy here. The animated Venom is pretty weak. Foreshadowing Brock's transformation throughout the season was smart. And the twist of turning the joke character into a terrifying villain surely threw many kids for a loop. But the cheap animation and overall shoddy production just kill the episode. It's a shame, given how well the two preceding episodes worked out.

Amazing #300, however, holds up darned well. There are no shortage of technical flaws in McFarlane's art, and the light tone of Michelinie's script might surprise those expecting a solemn anniversary issue, introducing such a significant villain. But, really, it's a fun comic. Peter has insecurities, yet he's surrounded by those who love him. The villain is absurd, but in an entertaining way. And for readers invested in the lore of Marvel continuity, it works as the next progression in the alien symbiote story. It all comes together. And even with its breezy tone, this turned out to be a far more notable comic than the dozens of anniversary "events" to follow.

That’s all for now. If you have any suggestions for the future, just leave a comment or contact me on Twitter.