Crawling Back: Amazing Spider-Man #122 Review (The Osborn Prelude, Part 9)
This issue marks the "end" of one supervillain saga, artfully balancing themes of vengeance and justice
—by Nathan on February 14, 2025—
Gwen Stacy was dead.
In Amazing Spider-Man #121, writer Gerry Conway and penciler Gil Kane brought the already fabled Spider-Man/Green Goblin rivalry to new heights…or maybe that should be new lows? Dropped by the Goblin from the George Washington Bridge, Gwen is seemingly saved by Spidey's webbing before hitting the water below. Believing he has liberated his lady love, Spidey is beyond dismayed to discover the sudden stop from his catch had broken her neck. Needled by the Goblin's taunting, Spidey swears revenge against his arch-enemy, insinuating he will go so far as to kill the green-garbed murderer in vengeance for Gwen's death.
This is where the next famed issue finds us, with Peter confronting a taunting Goblin and all but ready to end the life of his best friend's father. The last issue was titled "The Night Gwen Stacy Died." Is this also to be the night the Goblin dies as well?
"The Goblin's Last Stand"
Writer: Gerry Conway
Penciler: Gil Kane
Inkers: John Romita and Tony Mortellaro
Colorist: Dave Hunt
Letterer: Artie Simek
Issue: Amazing Spider-Man #122
Issue Publication Date: July 1973
Okay, yeah, I dramatically hyped up the issue in the intro, but pretty much anyone familiar with comics knows where this is going: the Green Goblin dies.
Much like its predecessor, this issue is famous enough to have been spoiled to many comic readers in the decades since its publication. I certainly knew the ending years before I ever read the issue, so I don't feel bad for popping a picture up there depicting the Green Goblin's "final" moments (before his eventual resurrection, which is something we'll discuss in the distant future). Yes, the Green Goblin "dies," and I don't doubt it was intended to be permanent at the time ASM #122 was published. Norman pays for the crime he's committed against Gwen, and it's those panels which I have seen reproduced in other reviews, articles, or even books discussing the issue. "Crucified, not on a cross of gold, but on a stake of humble tin" remains one of my favorite lines from any comic anywhere. Yet, like with ASM #121, this issue is more than just a singularly impactful moment in Spider-Man history.
I had forgotten, until reading this issue recently, how dour and vengeful Peter is across the entirety of the story. It makes perfect sense: his girlfriend has just been murdered, an action he blames himself for as much as he does the Goblin, and all he has is vengeance on his mind. He behaves in ways which would otherwise appear wildly out of character, becoming argumentative and demanding, knocking around some police officers, and thinking of nothing else than wrapping his hands around the Goblin's throat (in maybe less descriptive terms). Anger boils in his veins, and though I'm sure many readers have silently begged Peter to take a step back, calm down, reassess, I didn't find myself as bothered by the issue's constantly grim tone.
"Dark Spider-Man," as I have discussed elsewhere, is a difficult tone to achieve. I'll argue the best example is Peter David's "The Death of Jean DeWolff," a narrative where Spidey is brought to the edge without crossing the line (another great example is found in a scene where plainclothes Peter absolutely trounces a group of drug dealers in ASM #98, a personal favorite moment–and also penciled by Gil Kane!). Conway and Kane's piece is incredibly similar, with a significant difference: this Spider-Man dwells on his darkness. David's Spider-Man acts violently in the moment, overcome by rage at that time. Conway and Kane bring Peter into a darkness that lingers in his brain, wrapped up in memories of the love he's just lost. The anger has enough of a hold on him, and comes as a result of a devastating turn of events, I believe Conway is justified in writing Peter this way.
A scene where Peter, out of costume, callously confronts Harry Osborn, still in the throes of his drug-addled brain, stands out for how Kane illustrates Peter. Conway's words certainly add to Peter's state of mind, but Kane visualizing Peter's eyes as wide and wild, calling to mind a shot of Jimmy Stewart staring directly at the camera in the Christmas classic It's a Wonderful Life, cements how unhinged the young man has become, even temporarily. Emotion Kane could not convey with Peter wearing a mask comes to the fore of his face in these panels, the wide eyes, furrowed brow, and clenched teeth providing a look into Peter's heartbreak and rage words could not describe adequately. We can see Spider-Man throw a few cops around and be obsessive over Gwen's body, but the look in Peter's face says more than most other actions he takes.
I had also forgotten we witness two confrontations with the Goblin. I read ASM #121 with the belief that the Goblin had flown away after taunting Peter over Gwen's death; this issue confirms that he certainly tries, only to face the wrath of an enraged Spider-Man. This first fight allows Spidey to vent his rage, much to the Goblin's consternation, and Peter's failure to bring the Goblin down thanks to his heightened emotional state informs the later battle, wherein the Goblin faces a somewhat more strategic hero.
But Conway shows early that Peter's darker turn towards others, including police officers, comes from his grief, allowing us to empathize with not just the hero but those who get in his way. Spidey shows little remorse for tossing around a few cops (especially after they take a couple of pot shots at him), cuts off Robbie Robertson in a rude exchange, ignores Harry Osborn's pleas for help, and webs up J. Jonah Jameson's mouth. Despite Spidey's callous behavior, I believe his cold demeanor should encourage us to feel more empathy for his supporting cast…and, yes, we should even feel a slight begrudging note of sympathy for Jameson. We understand what is fueling Spidey's rage, and even if we can't condone how Spidey/Peter treats friends, associates, and members of law enforcement, we understand. Spidey is never apologetic, and I feel at one time I would have criticized Conway for handling Peter this way. But I won't now.
Even as the issue closes, a rattled Peter tries to stymie Mary Jane Watson's concern, speaking a harsh truth to the spunky go-getter. The issue's final panels of MJ silently closing a door to just be with Peter, even as the young man critiques her mood, shows Peter a level of grace he does not deserve at this moment. He's failed to endear himself to everyone at every turn, at a time where people would most willingly be sympathetic towards his grief, and someone who would have every right to leave him to wallow in his pain alone…stays.
I will offer a note of criticism for Conway's initial portrayal of MJ. Powerful as the silent panels of her choosing to stay with Peter are, her opening remarks to Peter ("Hey, Petey–I heard about Gwen. I'm really torn up about it") read cold to me. The flirtatious nickname ("Petey") and the use of slang don't convey sorrow the way I'd assume a friend of Gwen's would react. There is a sense the interaction is justified by MJ's character, often presented as somewhat aloof to the emotions of those around her, thus unintentionally frustrating Peter; it's only when Peter critiques her that MJ shows emotion, tears rolling down her face, a reaction I align more with guilt or remorse than deep sadness. Her introduction to the scene just feels empty, and though Conway develops a nice contrast by having her close the door and stay with Peter, I would've expected more initial emotion from someone within Gwen's inner circle.
A hint of guilt does rumble around Peter's mind, however, elsewhere in the issue. When officers show up, Peter tells them "Spider-Man killed her," despite doggedly hunting the Goblin as the culprit behind her murder. He understands that Gwen's closeness to him is what led the Goblin to kidnap her, even if the Goblin is responsible for physically roping her into their conflict. Peter feels responsible for placing her in the situation which led to her death. This doesn't change his rage towards the Goblin, and the issue's final third offers a brutal battle between both men, easily the most personal fight since ASM #40 and the most violent. Spidey is no longer on the defensive, no longer just trying to keep himself alive. He initiates the fight, ambushing the Goblin and trashing his glider (which, for me, is the moment you know Spidey's not pulling his punches). He clobbers the creep, creating a scene that isn't so much a fight as it is a one-sided beatdown.
"Dark Spider-Man" prevails for the moment, but as readers are likely aware, it's not Peter who lands the "killing" blow against his emerald arch-enemy. Peter chooses not to murder Osborn (any surprise there?), telling the Goblin he'll turn him over to the authorities. The Goblin attempts to kill Spidey with his glider, but Spidey dodges, and the Goblin pins himself to the wall, seemingly dead for good. In 1973, that was the intention. Spidey gets the death he wants without bloodying his hands, and the Goblin faces mortal justice for his crimes.
It's a Pyrrhic victory for the Web-Head. The threat of the Goblin is seemingly eradicated, yet the best friend of his father has died (something, interestingly, Spidey doesn't even acknowledge) by his own hand. The Goblin's death brings Peter no peace, nor does it bring Gwen back. He's still left destitute and as empty as he was shouting death threats against the green ghoul. The ending is not altogether surprising–Spidey may have his darker edge, but him pulling back at the last moment to handle Osborn properly aligns with his "great power" pledge. Bringing Osborn in is the responsible move; it's only Osborn's obsessive hate for his arch-foe which leads to his own demise.
The death is far more satisfying than if Spidey ended the Goblin's life on his own terms. The fight's one-sided nature is, for me, enough comeuppance for Osborn. He's thrashed to the point to where dizzying sparks circle his head; he loses his precious glider (hilariously swearing revenge on Peter for its destruction, the irony of which is not lost on Spidey); he nags and gloats and pushes the Wall-Crawler before trying to kill him through trickery, winding up on the receiving end of his own glider. Much like the Goblin's actions led to Gwen's death, his choices lead to his own demise. Spidey is an actor in this whole performance, but it's truly the Goblin who sows the seeds of his demise in the wake of what he believes is his greatest hour.
These two issues really deserve to be read back-to-back, but there is enough iconic material in each to discuss them individually. A lot of the quality of these issues can be credited to Conway's writing chops. Nowhere is his scripting as dense as Stan Lee's, meaning his first (and greatest) contribution to the Spider/Goblin mythos is accentuated by a brisk pace and fantastic character moments. The sheer brutality of the conflict reaches new heights under Conway, with impactful deaths at the climax of each issue. Gil Kane artfully imbues each issue with emotion, whether it's Norman Osborn's mind shattering or bug-eyed Peter wracked with misery. Beyond the two well-known moments from each issue, this arc provides multiple smaller moments worthy of comment, showing the impact of Gwen Stacy's life on not just Peter but other cast members. Many claim the Silver Age of comics dimmed to Bronze with these issues, Gwen's murder marking a loss of innocence in comics. That claim is debated (and the end of the Silver Age tacked onto other stories), but what isn't is the ongoing staying power of these issues, telling in tandem a powerful epic of love and loss…and showing how these concepts are intertwined within Peter Parker. Love and loss gave birth to Spider-Man, and it's love and loss which refine and shape him, even if the forging leaves him with scars.