Plot
Prior to this arc, Norman Osborn had been the Green Goblin, but due to amnesia suspended his identity as the supervillain and forgot that Spider-Man and Peter Parker are the same person. Also, Harry Osborn, Parker's best friend and Norman's son, became addicted to drugs and was sequestered in the Osborn home for detoxification. Norman Osborn's parental grief, combined with financial pressure, triggers a breakdown resulting in Norman Osborn remembering his Goblin identity and again targeting Spider-Man and his loved ones for misery.
The Green Goblin abducts Peter's girlfriend, Gwen Stacy, and lures Spider-Man to a tower of either the Brooklyn Bridge (as depicted in the art) or the George Washington Bridge (as given in the text). The Goblin and Spider-Man clash, and the Goblin hurls Stacy off the bridge. Spider-Man shoots a web strand at her legs and catches her. As he pulls her up, he thinks he has saved her. However, he quickly realizes she is dead. Unsure whether the whiplash from her sudden stop broke her neck or if the Goblin had broken it previously, he blames himself for her death. A note on the letters page of The Amazing Spider-Man #125 states: "It saddens us to say that the whiplash effect she underwent when Spidey's webbing stopped her so suddenly was, in fact, what killed her."
The Green Goblin escapes, and Spider-Man cries over Stacy's corpse and swears revenge. The following issue, Spider-Man tracks the Green Goblin to a warehouse and beats him but cannot bring himself to kill him. The Goblin uses the opportunity to send his glider to impale Spider-Man from behind. Warned by his spider-sense, Spider-Man dodges, and the glider instead impales the Green Goblin, seemingly killing him. Later, a devastated Parker, back at home, encounters an equally shocked and saddened Mary Jane Watson, who has lost her close friend Stacy, and the two attempt to comfort each other in the wake of their loss.
Read more about this topic: The Night Gwen Stacy Died
Famous quotes containing the word plot:
“But, when to Sin our byast Nature leans,
The careful Devil is still at hand with means;
And providently Pimps for ill desires:
The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (1631–1700)
“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)
“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
—Ralph Waldo Emerson (1803–1882)