Plot
The book opens with Peter Parker being forced to be a substitute basketball coach at the high school where he teaches science. He is challenged by Samuel Larkin, a star basketball player, who refuses to work with the other players. Peter soon finds out that Samuel never got the regular and required vaccines, and will be suspended and therefore unable to play for the rest of the season, making it nigh-impossible to get into a good university. After coaching, Peter returns home to find that Mary Jane Watson got a part as Lady Macbeth, but since the show is playing in Atlantic City, she bought a car, despite not knowing how to drive. As they are discussing Peter teaching her, The Rhino attacks Times Square, and Spider-Man is needed. As he swings to the battle, Felicia Hardy, otherwise known as "The Black Cat", tells him that he is in danger and the Rhino's attack is a trap. Spider-Man swings on, and easily defeats the Rhino. After he knocks him unconscious, the three vengeful siblings of Morlun (Thanis, Malos, and Mortia), appear and say that Spider-Man caused the death of their brother. Spider-Man evades them until a SWAT team appears. In the end, it is Mary-Jane who defeats the siblings. Already angry that she can't help Peter like Felicia can, Mary-Jane is enraged by what the siblings are putting her husband through. she defeats them by driving into them with her car. Another Marvel Comics character, Doctor Strange is included in the novel as a figure from whom the wall-crawler seeks assistance.
Read more about this topic: Spider-Man: The Darkest Hours
Famous quotes containing the word plot:
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)