Ross Andru's Amazing Spider-Man Club
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I think this is the correct incinerator from ASM 151.  As Get Marwood and I can attest, it is also the final resting place of Bart Hamilton in ASM 180.  The Greenpoint Incinerator was demolished in 2002 and this is the only photo I can even find of it.  The building design does look very similar.  

image.thumb.png.92e104e537b883362a76393725a0a396.png

Edited by Spider-Variant
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On 2/25/2019 at 7:51 PM, Spider-Variant said:

I think this is the correct incinerator from ASM 151.  As Get Marwood and I can attest, it is also the final resting place of Bart Hamilton in ASM 180. 

 

Yes. Bwa-da-doom! I believe it was hm

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On ‎2019‎/‎02‎/‎25 at 12:51 PM, Spider-Variant said:

I think this is the correct incinerator from ASM 151.  As Get Marwood and I can attest, it is also the final resting place of Bart Hamilton in ASM 180.  The Greenpoint Incinerator was demolished in 2002 and this is the only photo I can even find of it.  The building design does look very similar.  

image.thumb.png.92e104e537b883362a76393725a0a396.png

how cool!

Thanks for posting

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On ‎2019‎/‎02‎/‎14 at 2:52 PM, tv horror said:

I could never find a bag large enough (that's what she said) to suit my treasure.:devil:

 

they are available now and so are boxes large enough for treasuries. I ordered mine through Bags Unlimited.

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Ok, how many people had guessed that Bart Hamilton was the Green Goblin in the ASM 176 - 180 before the big reveal?  I was surprised for sure.  Of course I was 11 years old, so I had an excuse.  

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6 minutes ago, Spider-Variant said:

Ok, how many people had guessed that Bart Hamilton was the Green Goblin in the ASM 176 - 180 before the big reveal?  I was surprised for sure.  Of course I was 11 years old, so I had an excuse.  

Not a clue, I was a bit older so I blame it on missing issues 174/175 with the big clues.  :whistle:  

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3 hours ago, Artboy99 said:

how cool!

Thanks for posting

Thanks.  I have posted quite a few examples of Ross Andru's real life inspirations for his art  in this thread, if you go back to the start of it.  It's been fun and nostalgic as well.  

Edited by Spider-Variant

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4 hours ago, bababooey said:

Confirmed. 

greengoblinhamilton5.jpg

Actually he turned up again recently in the Clone conspiracy storyline. However I'm sure that it was Roderick Kingsley in disguise. So Bart is still miles apart! (ouch).

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3 hours ago, Spider-Variant said:

Ok, how many people had guessed that Bart Hamilton was the Green Goblin in the ASM 176 - 180 before the big reveal?  I was surprised for sure.  Of course I was 11 years old, so I had an excuse.  

I knew! Then again I went through hundreds of backs issues because they gave a clue in one panel showing a hand with a graduation ring on the finger, I had remembered a storyline were Peter went to prison and he turned his ring into a mini camera. Many issues later I guessed that it was his clone back from the dead and I was right, I guessed both the Jackal and Ben Reilly's return.:bigsmile:  No one would believe me in the LCS, they laughed LAUGHED I tell you!:bigsmile:  

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32 minutes ago, Spider-Variant said:

Wonder what Spidey was swinging from, doesn't look like anything around for miles.

 

 

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6 hours ago, Schmakt said:

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Hope Dr. Octopus is not hiding in that one too.  :roflmao:

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In an interview with Back Issue, writer Gerry Conway said this of Andru's abilities:

"Ross Andru could place a character anywhere he wanted. He had a terrific sense of spatial relations; he could track a battle easily across rooftops, from panel to panel. He drew some great sequences where he maintained the same stationary background, a rooftop or a street, across an entire page, but move the characters from panel to panel. I know there are artists today who do that, but many of today's artists are figure-oriented. Space and context doesn't seem as important to them, whereas it was extremely important to Ross. He used to go around New York City taking pictures of the buildings so he could be accurate about where he put Spider-Man."

Conway described Andru’s skill in drawing Peter Parker’s life in an interview with Tom DeFalco for Comics Creators on Spider-Man:

"I started off writing fairly detailed plots for Ross, but stopped that as we continued to work together. Ross was such a good storyteller. We seemed to develop some kind of telepathy. When we talked over a story, I’d start out describing a scene, and he’d be finishing my sentences. He understood both the visual dynamic of Spider-Man, and the personal pathos of Peter Parker. He was able to break down a story wit the proper proportion of action to character."

"I was living in Manhattan at the time, and Ross used to come to my apartment to take reference pictures from my roof. Ross would take these wonderful vertigo shots. He photographed every scene that showed Spider-Man web-swinging over some fantastic canyon in the city. Ross rarely used newspaper clippings of photo reference books. He took his own photos because he wanted specific angles in order to show some really neat special effect."

Len Wein recalled Ross’s determination:

"Ross had an amazing sense of design and story, and he was a stickler for accuracy. Amazing #151, my first issues, starred the Shocker, and the climax takes place on a power station that was located on a small island in the middle of the East River. Ross had his wife drop him off in the middle of the 59th street bridge, and stood there with a camera and a sketch pad for like an hour and a half, until he got all the reference on that power station just right."

"I would set my Spider-Man stories around famous objects in New York because I knew Ross would get them right. One of my favorite battles was a Green Goblin story that had a big aerial fight inside Radio City Music Hall. Ross spent an afternoon there, taking photos and sketching."

 "I made New York a character in the book because I knew I had an artist who was capable of doing it justice. Ross gave you the real New York. We did stories that featured the ice rink at Rockefeller Center, the Roosevelt Island Tramway, and once had a climax take place in Times Square with all those Neon lights. I opened one issue with Spider-Man sitting on the wall of St Patrick’s Cathedral."

 

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In my mind, I can see Ross sitting up on this overpass taking a picture to use as reference to Amazing Spider-Man 138.  He put the light poles in exactly the same position as they are in real life.  There must have not been a Jersey barrier down the middle of the road leading to the bridge in 1974 though.  Even the overpass guard rail has the two supports in the same position.  Did any other artist go to these lengths for accuracy?  

image.thumb.png.a98b65b2947a58b7d26e3d26865c4b97.png

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