Amazing Spider-Man #61: He’s the Magic Man

Fans have been previewed “The 8 Deaths of Spider-Man” already, and it might be tempting to say, “Spidey using magic?! Pffffft, that’s not a Spider-Man story!”

Balderdash.

What makes a Spider-Man story, really? At it’s core, it comes down to Peter Parker overcoming odds that would doom a lesser hero. And in that regard, “8 Deaths” is, most definitely, a Spider-Man story. “But Matt,” the naysayers protest, “Spidey is a SCIENCE hero! Mystical hoo-hahs have no place in his tales!”

Again, balderdash.

We live in a world where the Spider-Verse is a cornerstone of every other Spidey yarn, it seems, from page to film. If something that big and abstract can become part of the Spider-firmament, why not let loose with a little bit of fun from what’s usually Doctor Strange’s corner of the world? After all, one of the building blocks of the Marvel Universe is that the heroes inhabit the same world, share adventures, and cameo in each other’s stories – so the hell with it, why not let Spider-Man rip around in the mystical corner of the Marvel U?

Incoming writer Joe Kelly understands this, having already been a part of the Brand New Day brain trust and penned some incredibly memorable Spider-Man yarns (including all-time great “Shed”). But more importantly, Kelly gets Peter Parker’s voice. The narration and dialogue scream “Peter Parker” down to the very last syllable. So regardless of the plot, readers will feel they’re reading a Spidey story right off the bat.

As for the plot – things do get a little murkier there, despite my earlier praising of its elements. Doctor Doom – now the Sorcerer Supreme thanks to some trickeration he pulled during Blood Hunt – picks Spidey to be Earth’s champion against the eight offspring of Cyttorak (usually associated with Juggernaut and/or Doctor Strange), who wake up every so often to show Dad they’re cool by wreaking a lot of havoc. For reasons that involve needing to move the plot forward, Doom can’t directly interfere and must choose a champion to defeat them, so he chooses… Spider-Man? That doesn’t make the most sense; especially if your hero is going up against foes that can quite easily kill him (and do). Why not Thor, or Hercules, or someone of that caliber? Spidey is chosen because the plot demands it, not because it makes the most sense. But here we are anyway, so have fun making the most of it. Don’t overthink it (despite Doom’s rationalizations) and you’ll be fine.

Ed McGuinness’ art has grown by leaps and bounds in recent years, and that is on perfect display here. Gone are his puffy action figures of old and in their place, sleek, sturdy – albeit still cartoony (not that that’s a knock) – figures in their stead. McGuinness excels at action, and boy, this is the story for it. If knockabout big-screen action is your yin, you’re in for a treat. Combine that with Mark Farmer’s bold inks and Marcio Menyz’ eye-popping colors, and readers are in for a comic that looks every bit as big and bold as the story it’s featuring. Special praise goes to Niko Henrichon for his dream sequence art; it’s a visual feast that makes a visually stunning comic that much more so.