Throughout the novel, Miles is constantly reflecting on the legacies of those in his family who came before him, particularly his father and his uncle Aaron, and he is keenly aware that their life choices have informed his own sense of responsibility and morality. The novel emphasizes that in order to fully understand one’s family legacy, it is important to acknowledge both the positive and negative patterns that have been passed down, and Miles’s experience suggests that this idea holds true on both a personal and a societal level. His reflections on his father’s insistence on visiting the monument to Martin Luther King, Jr. point to this tension, as Miles appreciates the weight of history and intentionality and acknowledges that most adults strive to live purposefully. As his father tells him, “Darkness cannot drive out darkness; only light can do that” (98), and this statement instills a moral ideal that goes on to shape Miles’s decisions in the present day, influencing his interpretation of his own role as Spiderman, as well as his responsibilities to those around him.

However, while Miles’s father provides guidance, the protagonist’s contemplations on his uncle Aaron’s life complicates his sense of obligation, morality, and personal identity. He recognizes positive similarities between himself and Uncle Aaron, but he also wonders if there are negative similarities too, fearing that his uncle’s “patterns” in life may somehow influence his own. When he asks, “What about my uncle? // Patterns. Patterns.” (95), these abrupt lines of verse represent his attempts to confront both the positive and negative aspects of family influence, particularly the fact that Uncle Aaron pursued a life of crime until his death and openly admitted his preference for this particular path. 

At the same time, Miles has a deeper understanding of his uncle and remembers him as far more than just a criminal, and he hates the fact that other people never saw the good side of Uncle Aaron or tried to understand why he made the choices that he did. In his introspection, Miles learns that the decisions Aaron made were often misunderstood by others and rippled outward to affect those who come after him. This realization contextualizes Miles’s empathy toward his cousin Austin, Aaron’s son, who is now incarcerated for committing crimes of his own. Miles’s solemn consideration of these issues reflects his inner awareness; he does not want Austin to follow the same path as Aaron, and he channels his concern into action by organizing the book drive. By helping Austin in this way, Miles actively reshapes the legacy that he has inherited from his family. 

Inherent in Miles’s actions is his instinctive understanding that this father and uncle represent different approaches to life and morality. As the novel progresses, Miles constantly evaluates their influence against his own experiences. In his poetry, for example, he acknowledges both admiration and caution, writing about Uncle Aaron’s life as “Exposition. Rising action. // Conflict. A hero’s journey” (138). Here, Miles interprets his family history as an experience of challenges and growth, realizing that although each chapter of his family’s past has had an effect upon his own identity, these factors cannot determine the course of his life entirely. Miles’s journey therefore illustrates that family legacy is both a burden and an opportunity for personal growth, and he uses reflection, poetry, and action to honor the positive lessons of his family while learning from the negative ones.

One of the major themes in Miles Morales: Suspended is the subtle, systemic presence of racism and the ways in which those who represent biased power structures attempt to control the knowledge, behavior, and identity of marginalized people. Rather than showing overt acts of hatred in every scene, the novel emphasizes the existence of an undercurrent of bias and racism that influences the school environment, social interactions, and the treatment of marginalized students. Miles is acutely aware of these forces, and he frequently identifies patterns that are deeply consequential even when they are not always explicit. For example, when he reflects on his history teacher’s behavior and laments the faulty rationale behind his suspension, he recognizes that he has been the target of his teacher’s personal biases and the school’s institutional injustice. As he puts it, he has been “suspended for not playing small” (69). This phrasing makes it clear that certain authority figures aim to limit the potential of Black students and other marginalized groups by subtly discouraging them from expressing themselves or pursuing their ambitions.

Within this framework, Tobin’s destruction of books represents a literal and symbolic attack on learning and freedom of thought. Having fallen under the influence of the shadowy, villainous Warden, who perpetuates attitudes of racism in others, Tobin claims that the books must be destroyed to “maintain order.” His assertion echoes the historical (and ongoing) efforts of dominant systems to control the information that is accessible, particularly for marginalized students. This attitude of censorship is made manifest in the metaphor of the termites, for just as the invading swarm seeks to devour the library’s books, attitudes of censorship likewise invade the public consciousness, suppressing any voices or ideas that challenge the biased stances of those in power. When Tobin’s actions connect the concept of censorship directly to Miles’s own marginalized identity, the Warden’s agenda and the systematic removal of information collectively function as a metaphor for the broader societal pressures that suppress dissent and erase the histories of minority communities.

As a dynamic response to this oppression, Miles’s poetry creatively shows that even the subtler forms of racism and control can warp people’s perceptions. In “A Reckoning,” he writes, “I have never wanted to be a fly caught in a web. // I want to carve my own path” (240), and he uses this metaphor to demonstrate his resistance to systems that seek to trap or confine him, whether through codified rules, the arbitrary dictates of authority figures, or the invisible pressure of societal expectations. At the same time, his use of web-based imagery connects this metaphor to his own secret identity as Spiderman. With the protagonist’s reflections, the novel shows that systemic bias often operates invisibly by influencing behavior and limiting opportunity, and Miles’s frustration stems from his desire to circumvent these limiting dynamics.

Within this context, Miles’s observations of classmates and staff indicate the everyday, normalized aspects of control. When he notices Tobin eating paper or nervously eyes the termites spilling out of the desk, his ability to perceive the invisible reflects the broader truth that those who suffer directly from the cruel dictates of systemic racism are the most easily able to recognize these injustices. By contrast, those in power—or those who benefit from membership in more privileged groups—often fail to see or actively choose to ignore these issues. In this way, the invisible yet very real advance of the invading termites mirrors the ways in which systemic racism functions. It is partially hidden, yet its presence indelibly alters the life outcomes and interactions of marginalized people. The theme is intertwined with Miles’s growth as Spiderman and with his efforts to navigate the increasingly complex social systems that surround him. By recognizing invisible barriers and resisting them by wielding his creativity and moral agency, Miles exemplifies the importance of confronting systemic bias and outright racism.