Amazing Spider-Man #31 (Marvel, 6/17/26): Writer Joe Kelly and artist Patrick Gleason unveil the circumstances of Aunt May’s long-lost child. Meanwhile, Spidey enters an unusual auction. The issue tackles the pressing question, but readers may not like Kelly’s explanation. Verdict: Not all answers are good answers.
Credits:
- Writer: Joe Kelly
- Artist: Patrick Gleason
- Colorist: Marcio Menyz
- Letterer: VC’s Joe Caramagna
- Cover Artist: Patrick Gleason, Dean White (cover A)
- Publisher: Marvel Comics
- Release Date: June 17, 2026
- Comic Rating: Teen
- Cover Price: $4.99
- Page Count: 30
- Format: Single Issue
Covers:
Analysis of Amazing Spider-Man #31:
First Impressions:
Pardon my language, but Amazing Spider-Man #31 is absolute %@$#!. Joe Kelly had one job above all others – explain how Peter could have a cousin he didn’t know about. Kelly explains how, but it rings about as hollow and cheap as the worst possible hand-wave.
Recap:
Near the end of the Death Spiral arc, Spider-Man learned from the serial killer Torment that he was after a man Spidey had never heard of – Cormac Crane. Even more shocking, Torment explained that Crane was Spidey’s cousin.
Plot Analysis (SPOILERS):
The issue proceeds on two fronts that aren’t clearly established, meaning which is happening first and which is second.
In one timeline, a collection of super-criminals and gangsters assemble at a secret fight club called Killington House that doubles as an auction house. If you want a particular object or cache, you have to fight for it. The proceedings are hosted by the Vulture. Spider-Man watches the auction proceedings from the shadows, then decides to throw his hat in the ring to fight for ownership of Shocker’s gauntlets.
Elsewhere and when, Aunt May, her boyfriend (Miguel?) Peter Parker, and Cormac Crane assemble in May’s apartment to hear how Crane’s familial relationship is possible. May explains her heartbreaking series of miscarriages and health struggles during her marriage to Ben. When they’d given up hope, May suddenly became pregnant and carried the baby all the way to term. Somehow, in the smoke-filled, hand-waving illusion of comics, the child died after being born, with no clear explanation as to how, other than the doctor came back and told them the boy had died.
They never saw the body. There was no funeral. May and Ben agreed to never speak of the child again and pretend it never happened. Now, Cormac Crane has come home, and the Parker family will never be the same.
How is the story in Amazing Spider-Man #31?
Joe Kelly’s crack at modifying the Spider-Man mythology is confusing and unsatisfying. Superficially, you can see that Kelly set up a split plot to give the reader some action to hold attention while Aunt May’s exposition-centric story unfolds. However, the complete disconnect between the two plot threads is jarring, to say the least. It’s as if Kelly stuffed an all-action B-plot in the issue just to take up space.
More importantly, Aunt May’s explanation for Crane’s existence is depressingly cheap. After all the heartache May and Ben experienced in the efforts to have a child, to give up on a full-term baby without evidence or an ounce of fight verges on insulting. I would say Kelly should know better, but I don’t know that he does.
How is the art in Amazing Spider-Man #31?
Patrick Gleason’s artwork stands head and shoulders above as the highlight of this issue. It might be fair to say that Gleason’s artwork is elevated specifically because the script is so off-putting. The linework is excellent. The fight choreography in the disconnected B-plot is solid, and Marcio Menyz’s coloring is top-notch.
Characters
The character work is split between Spidey’s fight in the auction house and Aunt May’s painful backstory delivery. May carries the emotional weight of the issue in what should be a traumatic retelling of a painful period in her past. In fairness, May’s pain comes through loud and clear, even if the logistics of her story ring hollow.
Originality & Concept Execution
In terms of concept execution, Amazing Spider-Man #31 is a dud. Joe Kelly had one job – explain the long-lost cousin revelation and make it believable. On that critical task, Kelly fumbled the execution.
In terms of originality, the “long-lost relative” trope is well-worn territory, almost to the point of being seen as a cheap gimmick when the publisher is out of ideas. Well, it certainly looks and feels like a cheap gimmick that’s wholly unoriginal.
Pros and Cons
Art Samples:
The Scorecard:
Writing Quality (Clarity & Pacing): 1.5/4
Art Quality (Execution & Synergy): 3/4
Value (Originality & Entertainment): 0.5/2
Final Thoughts:
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Amazing Spider-Man #31 unveils the truth behind Peter Parker’s long-lost cousin. Unfortunately, the explanation is as unsatisfying as the setup. Patrick Gleason’s art makes the most of a wonky, frustrating script, but the character introduction of Cormac Crane is bad enough to almost qualify as Paul 2.0, and nobody wants that.
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