Editor's Note: Amazing Spider-Man #595 arrives in stores Thursday, May 28.

"American Son: Part 1"

Amazing Spider-Man #595 sees the regular Spider-Man title finally address the elephant in the room that is Norman Osborn's ascension to the head of H.A.M.M.E.R. as a result of his actions in Secret Invasion #8. Considering my disappointment with that event, my disinterest in the "Dark Reign" fallout, and my lukewarm reaction to the last couple of years' worth of Amazing Spider-Man, I was surprised to find this to be the best issue of the book that I've read in quite some time.

The main reason for my positive reaction is probably the fact that writer Joe Kelly clearly understands who all of the book's characters are, and how they relate to one another. Spidey is perfectly in-character throughout, whether it's his bitter conversation with Wolverine about Norman's rise to power or Peter's blundering attempts to impress girls whilst out-of-costume. Important supporting characters such as Harry Osborn are handled well, with his combative relationship with his father adding extra spice to the conflict between Peter and Norman. Ben Urich gets a brief moment to shine, and there's some enjoyable banter between J. Jonah Jameson and his father that adds a little much-needed levity to proceedings. However, one of the greatest successes is Kelly's characterisation of Norman himself, whose surprise appearance at a family dinner strikes a suitably malevolent chord.

Kelly balances the various elements of the book well. Long-running subplots are serviced without detracting too much from the core plot: Peter's decision that he has to do something about Norman's "Dark Reign." There are a couple of well-written exchanges between the two characters, including one climactic confrontation that I certainly didn't expect to see this early in the story. However, Kelly never lets things get so dour and serious that the book isn't fun to read.

Because I skipped many issues of Amazing Spider-Man since the "New Ways To Die" story and only rejoined it recently, some of the soap-opera elements do continue to escape me. For example, I'm not quite sure of the meaning of the closing development involving Menace, which reminded me of the big reveal in J. Michael Straczynski's ill-advised "Sins Past" storyline. I'd be surprised to see Kelly go down a similar route, but if he does, it will perhaps go some way to justify the position that he puts Harry in towards the end of the storyline, which seems illogical at this point but which promises to make for some dramatic developments in his relationship with his father.

Phil Jiminez returns to the book as artist for this arc, and he does a fine job. Characters are distinctive, consistent and recognisable, his panel compositions and layouts are very clear, and his action scenes are powerful -- particularly the fight sequence between Peter and Norman that comes towards the end of the issue. There are some fun nods to classic Spidey stories (for example, one splash page is an homage to John Romita's cover for Amazing Spider-Man #39) and some great images in their own right (such as the full splash page of Norman Osborn making a surprise appearance at dinner, with Harry and Peter's horrified reactions reflected in the silverware).

Finally, I have to confess that the fun letters page (in which readers' missives are answered by Norman Osborn himself) raised a smile from me.

Long-term readers may still find themselves a little jaded as far as current issues of Amazing Spider-Man are concerned. In fairness, we've seen the Peter Parker/Norman Osborn dynamic play out so many times in so many different ways that it's difficult to find it truly exciting or novel to see yet another storyline revolve around their endless conflict. However, taken on its own merits, this is an enjoyable and well-written issue that suggests that the "American Son" storyline is going to be an interesting one. Having decided to draw a line under my problems with the post-"One More Day" Amazing Spider-Man and enjoy it as a rebooted version of the 1970s continuity with a few modern elements thrown in, I'm actually starting to rediscover my love for the book again.

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