This week, Vulture fights, Cormac Parker confrontations, and Raelith – what more could an Amazing Spider-Man fan want!? How about Peter Parker being emotionally honest in a tough time? Now that’s the Peter Parker way, as writer Joe Kelly and artist Patrick Gleason wrap up a two-part story with issue #1000 just four issues away!
Amazing Spider-Man #32 (legacy #996) opens pretty much where we left off: Cormac just revealed to Peter, Aunt May, and her boyfriend Ricardo that he’s her son, and May knows it’s very possible. It’s a tough pill to swallow, as we see with Aunt May in this issue, but at the start, Peter has a lot of emotions around this. First of all, Cormac knows he’s Spider-Man, which is the first thing that comes up between them. Deep down, though, Kelly explores the confusing feelings an orphan like Peter might have, knowing there’s a bona fide son in the picture who could take his aunt May away. Not really, but it’s a relatable, genuine emotion that many would feel in this situation.
And the only way to let off steam is to punch some criminals if you’re Spider-Man!
That’s where this issue goes, explaining why Spider-Man was in an underground fighting ring last issue, punching Vulture seemingly for an audience. The reason for this adventure falls on Raelith and Glitch, who continue to be a breath of fresh air in the series. Kelly does a great job plucking the humor from both Glitch’s dry, dark point of view and Raelith’s positivity and inability to lock down human lingo. Ever heard anybody call New York “Manapple”? Me either, but you will after reading this issue.
Awkward!
Credit: Marvel
Given how the action was introduced last issue, the issue does feel a touch wonky plotting-wise, especially in single-issue format. The jumping back and forth is obviously meant to get action into this and last issue, but it makes for a disjointed cutting between scenes. It also leaves Cormac and Peter in an open-ended way, save for a slightly unnerving shot of Cormac and a beady white eye. That at least conveys something is up, but still, Peter and Cormac talk briefly, and then it’s just over.
With the Cormac stuff mostly tucked away, this issue focuses on Spider-Man letting loose with his friends as the story shifts back to the “present,” where he was beating up Vulture. Gleason’s art shines in these scenes, showing he’s great at drawing an agile Spidey with a lot of emotion in the eyes. Vulture is practically a monster in the way he’s depicted, from his goggles to his beak-like nose. Relatively new villain Plague RX also gets some time on the page, and Gleason makes him look like a monster in his own right.
When it comes to the Peter Parker side, Gleason does a good job of featuring his varying emotions, from his distrust of Cormac to his worry over Raelith at the end of the issue. It’s nice to see Peter with friends being a bit normal, even if the hilarious Symbie steals the spotlight in one scene.
This issue also includes a backup for Disability Pride Month by Marieke Nijkamp and Andrea Di Vito, featuring Misty Knight. The story is the start of a backup series, with Misty investigating Roderick Kingsley. The representation is good, with Silhouette and Daredevil popping up to help Misty. It’s heavy on dialogue and exposition, but her mission is high-stakes enough to want to keep following.
Amazing Spider-Man #32 succeeds thanks to Kelly’s focus on Peter Parker’s emotional state during a difficult and deeply personal moment. The introduction of Cormac into Aunt May’s life gives Peter a compelling internal conflict to wrestle with, while Gleason continues to deliver expressive character acting and kinetic superhero action. The issue’s back-and-forth structure can make the pacing feel somewhat disjointed, but the strength of the character interactions, humor, and emotional honesty keeps the story engaging from start to finish.
You must be logged in to post a comment.