The Amazing Spider-Man #63: The Jaws of Life

I admittedly had little faith in The 8 Deaths of Spider-Man amounting to anything more than a fun break between runs, something that would help distance whatever comes next from the notoriety of Zeb Wells’ run on the title. Joe Kelly has done a fine job accomplishing exactly that with the first two chapters of this arc, but something just wasn’t clicking. Kelly’s Peter would fit right at home in a tale like Dark Web, and although I love his work on Spider-Man/Deadpool, everything about the first two issues just wasn’t working for me. At its best, it was packed with solid action set pieces, coupled with an artist who’s now drawn enough of this title to do so confidently. At its worst, however, it felt gutless, fluffy, and distracting.

So, I was pleasantly surprised by just how great The Amazing Spider-Man #63 turned out to be. This is a very important issue for the story, as it finally adds much-needed pathos and maturity. It’s so well-written, in fact, that it retroactively elevates the previous issues and sets the book on a path toward a much brighter future. The combination of Justine Ireland’s knack for mature character drama and Kelly’s natural action/comedy style has instantly given this title a heart that’s beating harder than ever.

This issue is defined by perspective and driven by character. The Scion Peter faces in this issue isn’t someone he can simply punch his way through. The Scion looks to turn Peter’s past memories against him, forcing him to bear the weight of his failures. While it’s not the first time a Spider-Man villain has done this, what makes this issue stand out is how Peter handles it—both emotionally and as a superhero.

Ireland’s voice for Peter is one of flawed confidence. He’s portrayed as an intelligent person who attempts to turn his own brain against the Scion while holding steadfast as he’s bombarded with memories of one great tragedy after another. He buries the pain until it explodes in a run-in with Aunt May, which feels perfectly in keeping with Peter’s current state. Peter’s never framed as a dolt or a man-child, with his pain and responsibility played for laughs. You can tell that Ireland doesn’t simply admire the character; she has a deep respect for him. She handles his history with honesty, never idolizing or victimizing Peter in the face of his flaws.

The same could be said for the real heart of this issue. Peter has been struggling to get himself together since he went comatose in Beyond. This shadow of arrested development has loomed over the title, as it has become more of a hindrance to readers and authors alike. Peter’s spinning plates but going nowhere, caught between his past, the future that was stolen from him, and the path he’s currently on. It’s all explored beautifully in this issue through his emotional journey, even though it’s told in just a few pages. Thanks to Ireland’s tight control over pacing, it never feels rushed.

I do think some readers may find the conversations at the end of this issue a bit much, especially after the high-speed, action-packed excitement of issue #62. However, Ireland proved two key things to me that the title has lacked for a long time: properly written character relationships for Peter that don’t focus solely on his responsibility as Spider-Man, or his role as a caretaker in the lives of the women around him.

The conversation between him and Felicia is the best example of this. She was wasted in Wells’ run, where her character actively regressed. If not for her solo title written by Jed McKay, this regression likely would have continued. In this issue, Felicia is no longer just an emotional object for Peter; instead, they sit down and have an honest conversation about each other’s lives. Both of them make an effort to listen to one another without demeaning rhetoric or out-of-place “camera angles.” It’s almost dream-like.

On the flip side, there’s the picnic date between Peter and Shay, which is also very well-written and more convincing about their compatibility than anything we’ve seen in the title so far. In a world where Peter and MJ are no longer a possibility, Shay is a great partner for him. She provides the super-powered understanding that Mockingbird did while still maintaining the civilian humility of a Gwen or MJ. Shay can see Peter’s weight as Spider-Man through the eyes of Peter Parker, without seeing his civilian life as a burden. Her background at Ravencroft adds depth to their dynamic in this way and hopefully

It’s funny, really, that this issue might be the most maturely written of the series since Spencer’s run, and yet it’s the first time I didn’t feel like I was reading about a millennial adult caught in a mid-life crisis cycle they can’t escape from. I felt the buzz of youth, the pain and love of being Spider-Man—something editorial has used as one of the reasons for keeping Peter stuck in place. But this issue is all about pushing forward and finding happiness in life as it continues to change. As a nineteen-year-old, someone who should feel the most connection to Peter Parker, Ireland has captured the exact kinds of feelings a young adult my age goes through without diminishing the character or filling his dialogue with lame references and constant quips.

Then, of course, there’s Gleb Melnikov’s art, which is simply outstanding. It retains the same comic-book tone that Guinness has done so well, while also grounding the characters with the same tangibility John Romita Jr. achieved in previous runs. I’d love to see Melnikov take on an issue with more action, as his decision to break panel conventions was executed with excellence and precision. He’s a perfect fit for Spider-Man right out of the gate, and I can’t wait to see his character work evolve further.