The Spider-Island event in Amazing Spider-Man spawned numerous tie-in comics, some enriching the main narrative, others feeling somewhat tangential. While titles focusing on Cloak and Dagger or Venom made thematic sense, and “Deadly Foes” added background to the villains’ schemes, “I Love New York” landed with a thud, failing to capture the city’s spirit it purported to celebrate.
The premise itself held promise: showcasing how ordinary New Yorkers grappled with the Spider-Island outbreak. How would everyday citizens – single parents, children – adapt to the chaos? The “22 Short Films About Springfield” style vignettes seemed a fitting approach. However, a fundamental flaw undermined the entire issue: for a comic titled “I Love New York,” it was strikingly devoid of New York City’s essence.
Having resided in NYC for over six years, and a lifelong inhabitant of its greater metropolitan area, I believe I possess a reasonable understanding of Manhattan’s distinct character. Yet, beyond a fleeting subway reference, nothing in “I Love New York” anchored it specifically to the city. We are expected to accept New York as the setting simply because Spider-Man comics are typically set there, and Spider-Island originates from a bedbug infestation in the city.
I Love NYC
Contrast this with the “Cloak and Dagger Spider Island” mini-series. That comic, in my view, brilliantly addressed the evolving demographics and gentrification of formerly neglected New York neighborhoods. It repurposed Reagan-era characters within a contemporary NYC context, convincingly placing the narrative in the city. “I Love New York”‘s short stories, however, felt geographically ambiguous. A bank robbery, a child with spider-powers, a Spider-Cat – these scenarios could unfold in any generic urban center. Where was the promised love for New York? Where was New York, period?
Perhaps my deep-rooted connection to the city amplifies my sensitivity to its portrayal. If I seek generic “big city” backdrops for superhero tales, Metropolis or Gotham City readily suffice. A core appeal of Spider-Man, however, lies in Marvel’s decision to ground his adventures in a real city, replete with recognizable landmarks. Discussions about whether the bridge in ASM #121 is the George Washington or Brooklyn Bridge highlight this very point: the real-world setting fuels these debates and enhances reader engagement.
Consider the missed opportunities within “I Love New York.” Where is the neighborhood flavor? Take the depicted bank robbery scene – a scenario ripe for NYC specificity. Is it unfolding in the Financial District, amidst towering skyscrapers and bustling streets? Or perhaps in midtown, near iconic landmarks? The subway scene hinted at Upper Manhattan, potentially Washington Heights, with its soulful and unique neighborhoods. Given the likely NYC residency of many Marvel writers and artists, why not tap into their firsthand knowledge and experiences to enrich an issue like this?
Instead, “I Love New York” feels strangely detached – even more so than the humorous but equally disconnected “Avengers” tie-in. It lacks the over-the-top characters and situations that might compensate for the generic setting. New York City, politics aside, remains a remarkably diverse and distinctive metropolis. This comic, unfortunately, rendered it blandly cookie-cutter. Ultimately, the “I Love New York” one-shot stands out as a significant misstep within the Spider-Island series, particularly for those seeking an authentic portrayal of the city within their superhero narratives, perhaps even a Spider-Man bank robbery set piece that truly felt like it could only happen in NYC in 2013.
