Lot Details
| Series Title | Marvel Tales |
|---|---|
| Story Title | Spider-Man |
| Issue Number | 138 |
| Volume | 2 |
| Cover Date | April 1982 |
| Cover Price | 60¢ |
| Printing | First Print |
| Variant Description | Direct |
| Page Count | 36 |
| Genre | Superhero |
| Age Era | Bronze Age |
| Publisher | Marvel Comics |
| Writer | Stan Lee |
| Artist | Steve Ditko |
| Cover Artist | Jack Kirby |
| Inker | Steve Ditko |
| Letterer | Jon D'Agostino |
| Character Appearances | Spider-Man, Fantastic Four (Human Torch, Invisible Woman, Mister Fantastic, Thing), Aunt May, Chameleon |
Marvel Tales #138
The reprint preserves Spider-Man's origin narrative from 1963, including Peter Parker gaining his powers, Uncle Ben's death, and the famous "with great power comes great responsibility" lesson, making it an accessible alternative to the expensive Silver Age original while maintaining the complete story content.
(Includes Buyer's Premium)
Lot Details
| Series Title | Marvel Tales |
|---|---|
| Story Title | Spider-Man |
| Issue Number | 138 |
| Volume | 2 |
| Cover Date | April 1982 |
| Cover Price | 60¢ |
| Printing | First Print |
| Variant Description | Direct |
| Page Count | 36 |
| Genre | Superhero |
| Age Era | Bronze Age |
| Publisher | Marvel Comics |
| Writer | Stan Lee |
| Artist | Steve Ditko |
| Cover Artist | Jack Kirby |
| Inker | Steve Ditko |
| Letterer | Jon D'Agostino |
| Character Appearances | Spider-Man, Fantastic Four (Human Torch, Invisible Woman, Mister Fantastic, Thing), Aunt May, Chameleon |
Marvel Tales
Marvel Tales volume 2 launched in July 1964 as a reprint series, but found its definitive identity in the 1980s as Marvel's premier Spider-Man reprint title. By 1980, the series had evolved from featuring various Marvel heroes to focusing exclusively on Spider-Man, systematically reprinting his adventures from Amazing Fantasy #15 onward. The 1980s approach treated Marvel Tales as a gateway for new readers to experience Stan Lee and Steve Ditko's foundational Spider-Man stories, with updated coloring and new covers by contemporary artists. Sales averaged 75,000-100,000 copies monthly throughout the decade, impressive numbers for a reprint title that demonstrated strong demand for classic Spider-Man material.
The series served a crucial function in Marvel's publishing strategy during the 1980s. With back issues becoming increasingly expensive and scarce, Marvel Tales provided affordable access to Spider-Man's origins and early adventures. The title featured new covers by artists including Todd McFarlane, John Romita Jr., and Ron Frenz, often reinterpreting classic scenes with modern techniques. Editor Jim Salicrup added contextual introductions and corrected continuity errors from the original printings. By issue #137 (March 1982), the series had progressed to reprinting Amazing Spider-Man #1, allowing readers to follow Spider-Man's development chronologically. The systematic approach distinguished Marvel Tales from other reprint series that jumped randomly through characters' histories.
Marvel Tales became increasingly sophisticated throughout the decade, adding value beyond simple reprints. Special features included behind-the-scenes commentary, original art reproductions, and essays about the stories' creation. The series began incorporating annuals and special issues, reprinting Spider-Man stories from Strange Tales Annual #2 and other obscure sources. Issue #200 (June 1987) featured an all-new framing sequence by Tom DeFalco and Ron Frenz connecting reprinted stories. The title also served as a testing ground for new coloring techniques, with classic four-color stories recolored using modern methods. This approach sometimes proved controversial with purists but attracted readers accustomed to contemporary comics' production values.
The 1980s Marvel Tales run coincided with Spider-Man's multimedia explosion. The character starred in "Spider-Man and His Amazing Friends" (1981-1983), appeared regularly on "The Incredible Hulk" TV series, and maintained three monthly titles. Marvel Tales benefited from this increased visibility, with new readers seeking the character's origins. The series progressed through the Ditko era into the John Romita years, reaching Amazing Spider-Man #100 reprints by decade's end. Sales remained steady even as Marvel launched Classic X-Men (1986) and other reprint titles following the Marvel Tales model. The series demonstrated that properly packaged reprints could maintain dedicated readerships alongside new material.
Marvel Tales' impact on 1980s comic collecting and reading culture was significant. The series influenced the emerging trade paperback market by proving sustained interest in chronological classic reprints. Many prominent creators cite Marvel Tales as their introduction to Silver Age Marvel, unable to afford original issues. The title's letter columns revealed engaged readerships spanning multiple generations, with parents introducing children to stories they remembered from the 1960s. The new covers became collectible themselves, with McFarlane's contributions particularly sought after. The series helped establish Spider-Man's Lee/Ditko run as foundational texts that every fan should read, contributing to these issues' canonical status.
By the decade's end, Marvel Tales had evolved from a simple reprint book to a curated experience celebrating Spider-Man's history. The series reached issue #245 (January 1991) still maintaining strong sales, having progressed to mid-1970s Amazing Spider-Man reprints. The title continued until #291 (1994), making it one of Marvel's longest-running reprint series. The 1980s approach influenced how publishers handled archival material, leading to comprehensive reprint programs like Marvel Masterworks and DC's Archives. Marvel Tales demonstrated that classic stories retained commercial viability when presented respectfully with contemporary production values. For many 1980s readers, Marvel Tales provided their definitive Spider-Man experience, proving that great stories transcend their original publication dates while establishing templates for successful reprint programs that continue today through collected editions and digital platforms.
Winnipeg Collectibles Auction
October 15 - October 29, 2025
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Bidding Range
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Increment
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| $0.00 - $50.00 | $1.00 |
| $50.00 - $100.00 | $5.00 |
| $100.00 - $500.00 | $10.00 |
| $500.00 - $1,000.00 | $25.00 |
| $1,000.00 - $5,000.00 | $50.00 |
| $5,000.00 - $10,000.00 | $100.00 |
| $10,000.00 - $20,000.00 | $200.00 |
| $20,000.00 - $50,000.00 | $500.00 |
| $50,000.00 - $100,000.00 | $1,000.00 |
| $100,000.00+ | $5,000.00 |
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