Counting down the writers who were most responsible with their power
8. Tom DeFalco
"Amazing Spider-Man" #251-285, 407-439, "Amazing Spider-Man Annual" #18, #22-24, '96,'97, Marvel Team-Up #99, #106-107, #109, #138, #140-141, "Spectacular Spider-Man" #215-229, "Spider-Man" #26, "Web of Spider-Man" #128-129, "Web of Scarlet Spider" #1-2, "Webspinners" #17-18, "Spider-Girl" Vol. 1 #0-100, "Amazing Spider-Girl" #1-30, "Amazing Scarlet Spider" #1-2 Hot damn, that's a lot of Spider-Man -- and Girl! When Tom DeFalco took over "Amazing Spider-Man" in 1984, in an issue co-written by Roger Stern (more on him later), DeFalco brought with him a great sense of Stan Lee's Silver Age stories. It was clear, DeFalco loved the classic Spider-Man but those early issues showed that he was not beholden to or handcuffed by them. DeFalco was going to do his own thing -- and do it with style. In his second issue as co-writer, DeFalco was responsible for ushering in the black suit era in one of the most controversial books of the early '80s. When it came to plot, DeFalco was unafraid to shake things up, but his take on Peter remained comfortably consistent with what came before. When he took over as solo writer of "Amazing," DeFalco's focus was on the criminal underworld of New York. He deftly played with such characters as Kingpin, the Rose and Hobgoblin. DeFalco did what every great writer does when he comes on a popular title, adding to the world he had the honor of playing in. DeFalco created the Puma, a complex anti-hero that played a major role in the Spider-Man titles throughout the '90s. Many of the classic pre-Venom black suit stories, ones that have appeared throughout other media, sprang from DeFalco's mind. For all DeFalco did during his tenure with Spider-Man, perhaps the writer's greatest creation didn't even appear in a Spidey title. In 1998, Spider-Girl made her debut in, of all places, "What If?" #105. The issue was an instant sell out as old school fans weary from the endless "Clone Saga" and other unsuccessful directions the Spider titles had traveled the past few years embraced the heroic simplicity of "Mayday" Parker. Existing in its own universe, Spider-Girl was a return to the soap opera elements that made the early days of Spider-Man so much fun, the new female version of Spidey, the daughter of Peter and Mary Jane, seemed like a direct sequel to DeFalco's run on "Amazing" -- same tone, same rhythmic plot structure, same interactions -- but with an eye, literally, on the future. It was the book that would not die as fans embraced DeFalco's throwback style and helmed campaigns to stop Marvel from giving “Mayday” the axe. DeFalco guided Peter through some great comics in the '80s and '90s and expanded the themes and characters in "Spider-Girl," solidifying his spot on this list.