Venom’s first full appearance was a thrilling volume — possessing action, dark moments, and, of course, the occasional smut scene to ensure Marvel stayed consistent for its readers.

Plot

This comic commences with a terrified Mary-Jane Watson, trembling in the corner of her pitch-black apartment, hoping the horrifying intruder who had invaded her home was no longer there.

Peter Parker dons his black Spider-Man suit, intending to ease the fears of his newlywed wife. This proves impossible until he confirms they will not be staying the night at his apartment.

The focus then shifts to the man-mountain antagonist, Eddie Brock AKA Venom, who boasts the symbiote that not only amplifies his strength, but also amplifies his emotions — which proves a problem for Spider-Man.

Spidey continues the hunt for this masked assailant, with no luck at all. Until, on the streets of New York, feelings of unease ensue for our hero as he feels as though he is being followed by a strange presence.

Narrowly escaping his stalker, Peter’s next port of call is to communicate with his wife about their house move and where his career is heading. A suddenly depressed Peter is comforted by MJ, both emotionally and — in true Marvel fashion — physically.

Next on the agenda is an evening dinner with Aunt May, at which Peter is still feeling low and glum. Attempting to rectify this situation, MJ has a five-second conversation with Aunt May, which convinces her to become more involved in her husband’s life once again, much to the avail of Mr Parker.

Finally, a few scenes later, the moment we have all been waiting for happens. Spider-Man and Venom come face to face, and arguably, Marvel’s fiercest rivalry begins.

Venomous introduction for Eddie Brock

Unlike the Secret Wars (1984) opening volume, The Amazing Spider-Man #300 is a gigantic success and ticks all the boxes of a comic that not only introduces a threatening presence but maintains an eerie feel throughout each and every page. This transfers much of Peter Park’s anxiety onto the reader.

First of all, Eddie Brock and Venom’s dialogue provides a crystal clear context to what their intentions are, and always have been — eliminate Spider-Man. Whenever the two characters meet, you can feel the antagonist’s obsession with Peter; his focus is tunnel visioned.

Marvel Comics writer David Micheline has created a prevalent backstory for Eddie to substantiate his hatred for the webslinger. Although the reason behind wanting to kill Peter is literally due to unveiling a real criminal rather than the fake one, the former Daily Globe has manufactured with little evidence. Yes, some may say petty, I would agree.

Nevertheless, the story works well and does align with the premise that a symbiote will alleviate all emotions and overriding feelings a person has.

Dingy artistry maintains an uneasy feel

It is important for comics aiming to unsettle a reader that it does not solely rely on its dialogue, but the surrounding images it utilises. This issue consistently creates a shadowy presence around characters in moments that would allow Venom to strike — even when he is not in the scene.

Todd McFarlane — the Illustrator for this issue — has not only perfected the horror genre feel to this comic, but he has also managed to transition from suspense to lighter moments fantastically well. This is highlighted as Peter is attending MJ’s housewarming party in a more vibrant setting. Then on the next page, Spider-Man is tracking down Venom in a poorly lit apartment before chaos ensues.

Rating 8/10

I have read many comics in my time; however, this piece of art is easily in my top ten of all-time from the Marvel Universe. Maybe I have fallen victim to nostalgia and the first true appearance of one of the greatest villains ever created. That I accept. Nevertheless, the way the storytelling and imagery intertwine really is a thing of beauty.

Of course, it is not perfect. Wasted pages on MJ and Peter’s relationship that struggle to show any real emotional connection, just an opportunity for Parker’s wife to flaunt herself at any given moment. However, it is clear that this comic is just a product of its times, and we simply have to accept that objectifying women, while adding no real substance, was just the norm.

Overall, what I really found fascinating about this issue was the clear certainty by the writers that Venom was going to be a success. Without providing spoilers, the way in which the antagonist is left during the closing scenes proves that they had already planned a big future for him.

Looking back, this was one of the greatest decisions in franchise history, given the long list of symbiote-related adventures that Marvel has utilised.