Boomerang. Beetle. Shocker. Overdrive. Speed Demon. Spider-Man’s greatest and most well known foes team up to form the Sinister Six! Except they couldn’t find a sixth person who wanted to work with them. And, chances are, you’ve probably never heard of any of these guys. The most famous of them is Shocker, and even he isn’t as mainstream as the likes of Doctor Octopus or the Green Goblin. They might be a bunch of losers who all hate each other, but they’re gonna team up to pull off the biggest heist the New York underworld of crime has ever seen! And before you ask, no, Spider-Man is barely in this series.
I’ve read dozens of comics at this point, but I would still consider myself a relative “beginner” to the medium. So I’m always on the lookout for relatively short series that are mostly standalone. When I searched up comics of this description and saw a series called The Superior Foes of Spider-Man, with a goofy cast of characters and hilarious cover art by the likes of Michael del Mundo, Steve Lieber, and Rachelle Rosenberg, I knew I’d be in for a treat. Written by Nick Spencer with art by Lieber from 2013-2014, the series stands at 17 issues. For those less familiar with Marvel’s comic format, each issue is 20 pages long, so it’s all quite digestible in an afternoon or two. This series is great for someone who has a base level knowledge of Spider-Man, but doesn’t wanna get bombarded by decades of continuity. Especially if they are looking for something funny. Spencer and Lieber use their cast of lovable-yet-hateable characters and the comic book world to create a truly unique comedy that even has a touch of heart to it.
Everyone in the gang became a criminal for different reasons, and each one simultaneously adds to the comedy and the theme this series has about villainy and what exactly brings people to do crime in this world. Beetle, being the most recently introduced character to Marvel Comics in the bunch, gets an extended origin story in issue #7, when we find out her father is the infamous crime boss Tombstone. Beetle was raised to believe she would always be a criminal to follow in her dad’s footsteps. Even if he tried to steer her away at first, he does nothing to stop her, and even congratulates her once she gets her first villain gig. Janice (the Beetle) was never given a choice in life, giving her character a sense of tragedy. But Spencer wonderfully integrates this backstory into his comedic tone, making Tombstone and Beetle’s relationship super wholesome on the surface, joyfully building each other up as they commit heinous crimes.
Each of the characters has a similar story, all having different levels of redeemability: Boomerang slipped into this life after getting kicked off his team, and all he wants is to get back to his glory days. Meanwhile, all Overdrive ever desired was to be a superhero, but ended up working for the wrong people. Even Speed Demon shows some heart when he returns the dog he stole from a heartbroken child. But Shocker gets the best of it. He ends up on his own for most of the story, and in issue #9 (the best in the series), we see that he’s only doing all this so that he can afford a new place to live. He never wanted fame or revenge or anything, just a new life. This silly group of ridiculous costumed villains has some real depth to it in the end. But they’re still ridiculous costumed villains, and from there, the comedy shines brilliantly.
Going back to #9, this issue primarily revolves around an encounter between Boomerang and the much more famous Marvel villain, Bullseye. Boomerang explains in his narration that he hates Bullseye because the two of them have essentially the same powers, perfect aim, but Bullseye always gets hired over him because of “branding.” This setup is already funny enough, and that’s only established in the first few pages. It only gets funnier from there, but I wouldn’t dare spoiling all the jokes that follow. All that goes to show is how brilliantly Spencer utilizes the comic book world and history to tell this story. From making fun of Hammerhead’s stereotypical 1920s gangster voice to utilizing the Chameleon’s powers to Boomerang’s advantage, this story could not have been told in any other fictional universe. It somehow manages to strike that perfect balance so that aficionados of the lore will be very happy, but new readers will not be lost.
Lieber’s art throughout the series likewise plays an essential role in the comedy and charm of the series as well. The series has a wonderfully colorful and cartoonish aesthetic that perfectly matches the tone of the writing. Plus, it is chalk full of visual gags, many of which made me laugh out loud. One of favorites happens in issue #2 when Speed Demon needs to run for his life out of a restaurant, but then returns for his leftovers. Another frequent one that perfectly represents the tone of this series is one of the big MacGuffins of this story: a portrait of Doctor Doom without his mask on. However, whenever it is shown, there is something conveniently blocking our view, such as a hanging light or someone’s head. Reading this series is a genuine constant string of laughs that I could not recommend enough.
If you’re interested in reading comics at all and like a goofy tone that you don’t have to take too seriously, but compels you nonetheless, The Superior Foes of Spider-Man is a really solid read. It’s available in its entirety on Marvel Unlimited, or if you prefer a physical copy, it can be found in 3 collected volumes or in omnibus form.