Although the stakes are high, the issue doesn't veer away from the series' characteristic humor making for a fast-paced and thrilling read. Read Full Review

The issue is good, and a fun read if you've been keeping up with the story to this point. But if you're just jumping in, you might be a little confused at what's going on. There aren't any huge stakes or a cliffhanger ending with the issue, and to be honest it feels like an interlude between stories, or a prelude to what's to come with the inevitable end of the Zeb Wells run. Regardless, there are some interesting plot threads brought up in this issue that I'm interested to see where things go from here. And the next few months should be VERY interesting. Read Full Review

McGuiness and Nauck deliver some great art in the issue. The visuals are bright, beautifully detailed and vibrant. Read Full Review

Amazing Spider-Man #52 is mostly a fight comic with a subplot table setting thrown in the mix. Pound for pound, the art by Nauck and McGuinness, is exceptional, but this is a slower chapter in the story for sure. Read Full Review

Zeb Wells continues to try to make things feel big while making them end real small. The art is great, but can't save this issue or run! Read Full Review

Amazing Spider-Man #52 looks fantastic, but it's a mess of a story that tries to convince the reader that a rehash of the Spider-Goblin concept is still interesting and that Kamala Khan was a pivotal character in Spider-Man's life for the last two years you just didn't know it. Zeb Wells manages to write a comic that combines all the worst bits of his tenure on the title in a single issue. The score reflects the amazing art quality alone. Read Full Review

The story lacks a coherent center, careening from wacky humor to disturbing brother-on-brother ultra-violence to the seemingly requisite puzzle box of a plot, but it just doesn't hold together. Read Full Review

Giving it a score for what it is. One of the best arcs Wells has had was only a couple issues, and it’s a big part of what led to this arc. It looks like this might be another short lived scenario, but we don’t know yet.

Again, haven’t been a fan of his run as a whole but I’ll give credit where it’s due.

I was not expecting this issue to go the way that it did. That was a pleasant surprise, in all honesty. I'm really not sure what to make of the subplot in this issue, or what the larger plan is regarding Osborn. While previously I've been happy to see the return of plot threads throughout the run, I thought some of the returning threads in this issue were more worrisome than exciting. We'll see. Wells' run is ending soonish, so I expect the next few issues to be the final word from Wells for some of these threads.

This is not great but passable as an ASM story but the art is phenomenal, I just wish the story matched it.

Art: 4/5
Story: 3/5
Total: 7/10

After the strong start, I wasn't ready for the tone to switch this much, or for anything really. It's a bit disappointing, but let's see where it goes next.

Also, how does the goo work again?

A bit slow after last issue but that tends to happen after such a big reveal as well as having been the norm in Wells' arcs. I don't mind a slow pace but considering this arc isn't that long it worries me that this stems from a cool idea where he has a solid first issue and little to bring it all to a satisfying conclusion. Not that he hasn't before but his consistency is lacking in that department. As well as that of Ed McGuinness. I don't think his art style is bad, in fact I really like it but I tune out when his art is present in Spider-Man. I don't like how his characters look in costume. Nauck however is fantastic. I'd much rather just have one artist per book, not one per storyline. Eventually the paths meet and you leave one artist out to dry. It also looses a bit of that cohesion.
In terms of the story as I said before, it was a little slow. Between a lackluster confrontation between Chasm and Peter that leads to a pretty unceremonious "removal" of the Spider-Goblin, (at least in appearance), an even slower moving plot in The Living Brain's plan to save Peter and the most intriguing bit of Norman futureproofing the downfall of Peter Parker by transferring holdings of Oscorp to Peter's name. That last thread is the most impactful but a lot of it gets lost because nothing really had time to stick together. Not a bad issue but unfocused. more

I was kind of liking it at first and then it just got so corny.