John Romita Jr delivers some beautifully detailed art in the issue. There is a lot of emotion in the story and the art conveys that really well. I was impressed with the action as well. Read Full Review

Coming back after the anniversary issue, Amazing Spider-Man #7 offers up more hints about what happened prior to the first issue and kicks off the new arc with a bang. Read Full Review

This is exactly the sort of issue this volume needed. It's a fun soap opera and the art looks great. It's just the Spider-Man story we need. Read Full Review

Amazing Spider-Man #7 is starting to pull back the curtain on what Peter did, but we're still mostly in the dark. Visually the best scenes continue to be when Spider-Man's in costume, but if you can stay patient, there's a compelling story here to continue to explore. Read Full Review

The Amazing Spider-Man #7 is another lifeless entry into the multi-year, multi-run wheel spinning of Peter Parker. Between a script and storyline that feels like bait for more interesting stories and loosely defined status quos for characters, the issue is only saved thanks to Romita Jr.s excellent pencils and sequential storytelling. With Dark Web only a few issues away, the crossover will be a make or break for this run. It can still deliver by finding its footing and delivering a compelling story to match the art, but based on the previous entries into The Amazing Spider-Man, that seems more unlikely with every issue. Theres almost no instance where this issue can be recommended, other than to enjoy the Romita Jr. art and layouts, but the story, characters, and tensions all leave a lot to be desired. Read Full Review

Amazing Spider-Man #7 enters into a new arc with Wells doing what Wells seems to do best, reinvigorate villains. This time, Vulture gets his moment to shine, and it's a doozy. That said, Wells's weakness lies in showing consequences and aftermaths to events you never see or are explained, so Vulture's motivations are suspect. In short, a deadly Vulture battling Spider-Man is a sight to behold, but the poor setup in the writing hinders more than it helps. Read Full Review

The next Spider-Man story is off to an OK start, setting some pieces in place for the larger, ongoing story. Read Full Review

A back-to-basics story that suffers under a totally mismatched art style. Read Full Review

This was a very strong issue. There's a lot of ground being laid here. We finally get MJ and Peter truly interacting for the first time in this run, and it manages to keep the mystery afloat without being annoying more than intriguing. This is something that Spencer's run had plenty of trouble with. Add another little mark on the chart of differentiation between this run and Spencer's.

Zeb Wells continues to play with continuity. I don't say that as in he's colorfully retconning things in a fun way, but rather that he's simply using the continuity as it is. Vulture's granddaughter learning about his villainy was not something I ever thought would matter, least of which in the Amazing title, but it actually serves as a really engaging catalyst for this mini arc.

A lot of modern writers will choose to break away from the overarching narrative when they take over a character, usually choosing bits and pieces of the previous work to latch onto. Which is perfectly fine, and can be used to great effect.

A good example of this would be the Hulk title. When Ewing came in, he completely changed what Hulk had been for years at that point. A lighter, more teenage driven run by Greg Pak in Totally Awesome Hulk became the existential nightmare that was Immortal Hulk. We got bits and pieces of bleed through here and there, but Ewing took it in its own direction. And similarly, when Cates took over, the title became a brutal, high action 90s comic with Smashtronaut. All of these runs have their strengths, but the delineation between them is apparent.

Amazing Spider-Man is kind of an oddball because each run since Brand New Day has somewhat built on the other, while also performing large switches between writers. Peter Parker, as a character, has been insulated from the rest of the Marvel Universe, for whatever (possibly movie related) reason. So while Spencer did capitalize on what Slott did, he did negate a lot of it, and all the while convoluted the only sandbox he could really play in. It's interesting to see Wells break that mold. He keeps incorporating the larger universe into the series in a way that makes the run feel fresh. The constant backdrop of Krakoa being a prime example.

Also, instead of minimal connections to previous runs, used as a platform to launch into his own singular run, Wells is really living in the status quos that Spencer built, in spite of the time jump. The first arc was about Tombstone and the Rose, both plot points set up by Spencer. This second arc features Norman Osborn heavily, who is still cleansed of his sins from the previous run. And by the way, Marvel insists on using Norman way too much. He should've stayed very, very dead. This is an interesting dynamic. It isn't just Norman mean-mugging Spidey for years, like in Slott's run. I will take this over that, if we just can't get rid of him altogether.

I genuinely think Wells is doing a great job making this title feel revitalized. I can't stress enough how much of a good job he's doing. I think a lot of the initial hesitancy with this run was simply Marvel's marketing strategy of making the reader mad enough to buy the issue, which is not a great strategy. Now you've got a bunch of... well, idiots, who refuse to read the run based on misconceptions, and they'll continue to loudly act as though this run is the worst thing to ever happen. It's actually the most engaged the title and the character have been with the Marvel universe since Straczynski, and I think that's something to support.

Quick note, the art is passable here. There is a noticeable roughness to some of it that wasn't present in the first arc. I don't know if Romita is losing steam, or if a lot of talking heads just kind of plays to weaknesses, but I hope he bounces back with the inevitable action next issue. I'm really not a fan of his, so I'm constantly weary we're going to get Action Comics level art. Fortunately, that has yet to happen. more

+ Like • Comments (2)

• Likes (6)

• KittyNone
• Toonstrack
• Mout
• Loafy Trophy
• Hex
• Criminology.

Toonstrack - Jan 7, 2023

Freaking phenomenal review.

Amazing Psycamorean - Jan 7, 2023

🙏

Sign in to comment

Oof, that was brutal. I was afraid that the mystery would spread a lot, but we are seeing it little by little, that's good, and yeah, the script is good too, and the interactions. I like what Wells (and Spencer) is doing with Norman, he needed a change. And the vulture, oooooh man, that's the best part. I'm seeing that Wells is very good in the villains stuff, and this issue is an example. Now he's not just a villain, he's just sad and angry for what happened with the only person he had. Good, very good. Also, after the break of Jr Jr in the last issue, he is back doing the art as well as before.

Most interesting issue of this run. At least it goes somewhere.

It's good but these issues nowadays read much better as tpb or at least 2 or 3. Romita Jr Hanna and Menyz are about the same so it's consistent whether you like or not. I like it although I would take McGuiness in a heart beat.

I cant help but be really interested. The mystery thickens and the story is still interesting.

Not much to say here other than I'm intrigued. I'm lot letting the hanging mystery bog me down, I'm just enjoying the ride. Nice to see Peter and MJ talk for once, get a little more into whatever happened, see more of his connection to Norman. Groundwork stuff. Not the most compelling, action packed issue but necessary to get us where Wells is taking us.

It's not bad by any means. It's pretty solid, it's just disappointing there's not much plot to make it feel important.

This issue puts some intriguing new twists into Pete's story. I can't shake the feeling that my enthusiasm is contributing more to the intrigue than the creators are, though.

I'm about half-satisfied with the idea of Kamala Khan showing up as a supporting character. I don't think she's written or drawn particularly well so far, but Big M's been short on panel time lately, so I'll take what I can get.

To be clear, Vulture part was interesting and what i really want about him, parker and norman relationship also was fine, but itself this issue just set up hooks for a future stories.

+ Like • Comments (1)

•

Brownie - Aug 11, 2022 (edited)

Sign in to comment

I'm really confused. At every page I'm like "hey this is interesting" and then immediately "the hell am I reading?". So Paul and Peter got in a fight? Norman is free and he's rebuilding Oscorp, even if he was locked in a asylum mere months ago? Peter is working with him? And I'm even more lost on that Vulture storyline. I can't do anything but follow this, hoping Zeb Wells will prove me wrong... but I'm very disappointed in this new run, for now.

Huh.

No really, that's all I have to say about this comic. Not because it's bad, disappointing or anything like that (like #900 was), it's just... I have nothing else to say about it. So I'm going to continue telling how little I have to say about this.

Everything here works... ish. Sure the mystery is there, so if that's not your cup of tea, this issue might anger you more than it did me. For me? It was... fine.

But likewise, this issue isn't great like thefirst 5 issues turned out to be, but then again, only after re-reading them I grew to like the arc more. Maybe the same will happen with this one.

I find the idea that Peter would have ANYTHING to do with Osborn, who killed Gwen Stacy, ludicrous. And he's going to work for him? Spidey may be jumping the shark here.

I guess Spidey must be out of his prime losing to a guy he beat when he was 15